UIMA Spring 2011

SPRING 2011

Contents

T able of C ontents

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Special Exhibitions and Related Programming •Those Who Can: The University of Iowa School of Art & Art History Studio Faculty Exhibition •Lil Picard and Counterculture New York •Guest Lecturer: Carolee Schneemann •“Rites of Resistance: Gender, Performance, Art, and Film in the 60’s and 70’s”

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Lectures •Bette Spriestersbach Distinguished Lecture: Louis Menand •Levitt Craft Lecture: Ron Kovatch

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Outreach •UIMA Outreach Program’s New Addition: American Indian Works •Introducing: “View and DO” Family Activity Packets

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Donor Events •Spring 2011 Elliott Society Lecture Series

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Party! Time •2010 Party! in Review

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Spotlight •New UIMA@IMU Gallery Attendants •Versatile Volunteers

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UIMA News •Andy Warhol’s Photos Installed in UIMA@IMU •UIMA@Figge •Goya Research •Oh, the Places the Museum Goes!

•UIMA Goes Social

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From the University of Iowa Foundation •UIMA Honor Roll •2009–10 Acquisitions

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.

Cover: Foto-Fan, n.d., 623.1999; Untitled (Assemblage in open cigarette boxes), 1963, 71.1999; Lady Woolworth, 1963, 980.1999; performance photo from Messages (Self Portrait), 1968.

Artworks© Lil Picard Collection, UIMA/Photo© Lil Picard Papers, UI Libraries

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l o ca t i o n s & h o ur s

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 (Richey Ballroom) 125 North Madison St., Iowa City 319.335.1742

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

An on-campus visual classroom featuring an expansive installation of art 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.

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.

Hours: Tuesday through Saturday 10 a.m.–5 p.m.

Thursdays 10 a.m.–9 p.m.

Sundays 12–5 p.m.

Levitt Center for University Advancement One West Park Road, Iowa City Gallery with a selection of art from the UIMA’s African art collection.

Open by appointment only. Call 319.335.3232 for more information.

The UIMA Magazine is sponsored by Hands Jewelers: William Nusser and Elizabeth Boyd Written and edited by Meghan Centers and Gail Zlatnik Design by Rodrick D. Whetstone

Support www.uifoundation.org/uima 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.

Sign up to receive our E-newsletter at uima.uiowa.edu.

Museum Merchandise Shop for UIMA merchandise online at book.uiowa.edu Find us on Facebook Facebook.com/UIMuseumofArt Follow us on Twitter Twitter.com/UIMuseumofArt 3

E V ENTS

Spring 2011 Calendar of Events EXHIBITIONS Jan. 27–March 6

Feb. 24–May 27

Ongoing

Ongoing

Ongoing

Those Who Can: The University of Iowa School of Art & Art History Studio Faculty Exhibition Figge Art Museum, 225 West Second Street, Davenport, IA Lil Picard and Counterculture New York Iowa Memorial Union, Black Box Theater UIMA@IMU and UIMA@LCUA A Legacy for Iowa: Pollock’s Mural and Modern Masterworks from the University of Iowa Museum of Art Figge Art Museum, 225 West Second Street, Davenport, IA Selections from the Stanley Collection Figge Art Museum, 225 West Second Street, Davenport, IA

PROGRAMS January 21

January 30

February 14

February 24

Mar. 1, 4, 8, 29, Apr. 8, 15

March 2

March 3

March 31

April 7

April 14

Graduate Student Reception, Iowa Memorial Union, Main Lounge UIMA Student Bus Trip to Figge Art Museum Those Who Can exhibition reception, 3:00–5:00 p.m.

Figge Art Museum, 225 West Second Street, Davenport, IA Lecture: Nadine Orenstein, time and location TBD Bijou Theater Collaboration Film Screening, 6:00 p.m.

“Rites of Resistance: Gender, Performance, Art, and Film in the ‘60s and ‘70s” Lecture: Carolee Schneemann, 7:30 p.m.

University Athletic Club Public Reception for Lil Picard and Counterculture New York 7:00–9:00 p.m., Iowa Memorial Union, Main Lounge Gallery Talk: Kathy Edwards, 7:30 p.m.

Black Box Theater, IMU Bette Spriestersbach Distinguished Lecture: Louis Menand, 7:30 p.m.

Pappajohn Business Building Auditorium, W10 Jeanne and Richard Levitt Lectureship: American Crafts in Context: Ron Kovatch, 7:30 p.m., Pappajohn Business Building, W151

DONOR/VOLUNTEER EVENTS January 27

February 3

February 12

February 24 March 3

March 26

April 1

Elliott Society Lecture, 5:00–6:30 p.m.

University Athletic Club Elliott Society Lecture, 5:00–6:30 p.m.

University Athletic Club New Donor Tour and Lunch, 10:00 a.m.–12:30 p.m.

Iowa Memorial Union, River Room I Bijou Theater Collaboration Film Screening, 7:45 p.m.

All Donor Reception for Lil Picard and Counterculture New York 5:30–7:00 p.m., Iowa Memorial Union, Main Lounge Volunteer Reception, 10:00 a.m.–12:00 p.m.

University Athletic Club Curator’s Circle Reception, 7:30–10:00 p.m.

Iowa Memorial Union, North Room

May 21

Director’s Circle Reception, 7:00–10:00 p.m.

Iowa Memorial Union, Ballroom

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D ir e c t o r ’ s L e t t e r

F R O M T H E D I R E C TO R I would like to start my first letter by thanking the UIMA supporters and staff for being very kind and helpful during the first few weeks of my tenure here as director. I have experienced a lot of energy, ideas, and optimism, and as a consequence, I am confident that we will be able to make enormous progress in re-establishing a permanent and appropriate home for the UIMA. The Envisioning Committee and other University staff members and supporters have done a great deal of work assessing our situation and suggesting solutions on how best to move forward. I will make sure to consult these people and these reports, as well as the larger community, so that we are able to create an institution that best reflects our mission today and over the next few decades.

I am very keen to keep the energy level up and to uphold the quality of our programming during this unusual time. In fact, my objective is to make sure that this period is indeed considered unusual by not allowing people to get used to the current “building-less” situation. We will do this by actively involving as many people and as many other organizations as possible in the activities of the UIMA over the next few years. Our friends and colleagues from the UI School of Art & Art History, as well as alumni, community supporters, and other colleagues, will be critical in our ability to better serve the University mission. I firmly believe that communities across the region and the state will also gain by our work in furthering the University’s academic mission.

We have an obligation to serve the citizens of our state, and I look forward to forging long-lasting relationships with other institutions to help achieve this Iowa-wide mandate.

We plan to offer so much in this upcoming period that when the time comes to build a new Museum, people from the University, the local community, the region, and the State will say to us, “It’s about time!” In the meantime, my colleagues and I will work very hard with the President, the Provost(s), and other senior people to ensure that this wonderful institution (one that is regarded by many as one of the finest university art museums in the country) is given a home that is commensurate with the significance of the institution, quality of the collection, and the importance of its mission.

I would like to end this letter by thanking our two interim directors, Dr. Pamela White and Prof.

Sandy Boyd, for their effective stewardship of the Museum over the past couple of years. Their contributions have helped the UIMA get back on its feet after the 2008 flood.

I look forward to seeing all of you at UIMA events in the near future. Thank you for your generosity and for your support.

Sean O’Harrow, Ph.D. 5

WELCOME

Welcome, Dr. O’Harrow!

New Director Sean O’Harrow (center) poses with the former UIMA Interim Director Willard “Sandy” Boyd and his wife Susan at the 2010 Party!. Photo by Impact Photography.

“I want to make the UIMA an integral part of the education at the University of Iowa and have it become an indispensable part of life for the students, the Iowa City community, and those living in the wider region,” said the UIMA’s new director, Sean O’Harrow, this past August. “I want the UIMA to become a world-famous museum; a museum that people will travel far and wide to visit. I guess I like to keep my ambitions modest!”

The Museum’s Envisioning

Committee report of February 3,

2010, stated that hiring a new director to shepherd the project of building a new museum would be critical to the Museum’s success: “The director should have the skills and experience to seek out and acquire major gifts of art and funds, using innovative means of communicating with targeted donor markets and designing specific activities to

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encourage them to participate in the future of the Museum.”

Six months later, on August 9, then UI Provost Wallace Loh took what he called the first step to insure the “long-term success of one of the nation’s most innovative university arts communities” by hiring Dr. Sean O’Harrow as the new director. Loh said, “The University is committed to building a new campus art museum to house its extraordinary art collection. Dr. O’Harrow will provide the vision, energy, and leadership to enable us to realize that goal.”

November 15 marked O’Harrow’s official first day at the UIMA, although his ideas for the future of the Museum germinated long before. As the executive director of the Figge Art Museum in Davenport, which now houses a large portion of the UIMA permanent collection, O’Harrow partnered with several area educational institutions,

including St. Ambrose University and Scott Community College in Davenport as well as Western Illinois University in Macomb, Black Hawk College in Moline, and Knox College in Galesburg, Illinois, a feat he calls one of his biggest accomplishments at the Figge. Prior to his Figge tenure, O’Harrow was at St. Catharine’s College at Cambridge University, UK, for five years, where he helped raise $34 million.

Already traveling to look at potential exhibitions for the UIMA, O’Harrow enters his new position with an eagerness to bring art not only to the UI campus, but to the entire region.

“My task at the University will be to build a new institution as well as a new museum, thereby strengthening the cultural offerings in our region. This is a good thing for all fine art lovers in eastern Iowa, across the rest of the state, and in western Illinois.”

E X H I B I T I ONS

Those Who Can: The University of Iowa School of Art & Art History Studio Faculty Exhibition An exhibition dedicated to the memory of Prof. Thomas R. Aprile (1953–2010) January 27 – March 6

Figge Art Museum Third floor gallery space 225 West Second Street, Davenport, IA

The first University of Iowa faculty art exhibition since fall 2007, curated by UIMA Director Sean O’Harrow, will open the Museum’s new year at the Figge Art Museum in Davenport.

The Figge Art Museum will host the exhibition in its third floor gallery space, designed by the modernist architect Sir David Chipperfield. The museum, one hour east of Iowa City, is open Tuesday through Saturday 10 a.m.–5 p.m.; Thursdays 10 a.m.–9 p.m.; and Sundays 12–5 p.m.

Studio arts faculty members Isabel Barbuzza, Chunghi Choo, Ron Cohen, Monica Correia, Bradley Dicharry, John Dilg, David Dunlap, Laurel Farrin, John Freyer, Bob Glasgow, Ab Gratama, Sue Hettmansperger, Anita Jung, Sarah Kanouse, Virginia Myers, Mat Rude, Jim Snitzer,

University of Iowa students, faculty, and staff receive free admission to the Figge with their UI ID cards; UIMA donors get in free with their Donor Courtesy Cards.

Susan White, Katchina 4

Margaret Stratton, Susan White, Jon Winet, Laura Young, and Kee-ho Yuen will show the public their distinctive contributions to the world of art.

As a direct reflection of the range of media taught in the studio arts program, the artworks on display include paintings, sculpture, intermedia, mixed media, metal arts, photography, three-dimensional design, and graphic design.

Sarah Kanouse, A Post-Naturalist Field Kit for Saint-Henri, 2010

Laura Young, Song (for Tom), 2010

Monica Correia, Ventosa Stool, 2010

Reception: January 30, 3:00–5:00 p.m.

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E X H I B I T I ON

Lil Picard and Counterculture New York February 24 – May 27

Black Box Theater, Iowa Memorial Union

Only in America, but with a twist—only in New York City in the sixties and seventies, in the hot spot of the world of art, could a refugee German Jewish cabaret performer, born Lilli Elisabeth Benedick in 1899, become Lil Picard, artist, feminist, activist, and self-reinventor. Picard brought an orchestra of techniques from the major movements of the European avant-garde when she fled the Nazis in 1937 to settle in Manhattan, there to produce her major works during the years of the counterculture and its rejection of the Vietnam war, racial segregation, and traditional sexual mores.

friend, the author Patricia Highsmith, introduced her to the New York School and the Tenth Street galleries. Like Kurt Schwitters, she used street trash and her own cast-offs to create art; earlier than many others she created happenings and performance art. There too she became a friend of and mentor to groundbreaking female performance artists who were decades younger than she was. Picard had discovered a place where she could continue her quest for “transcendence, selfactualization, and intimate community.”

Now, Iowans will get a taste of the work of Lil Picard and that heightened historical period, with the opening on February 24 of Lil Picard and Counterculture New York in the IMU Black Box Theater.

The New Yorker’s review of the exhibition called it “part corrective, part window into how art makes it into the canon.” Picard’s wit, imagination, and experience make the exhibition wholly distinctive and irresistible.

Thus it was a homecoming of sorts last year when the University of Iowa Museum of Art opened Lil Picard and Counterculture New York at the Grey Art Gallery at New York University. Picard, who died in 1994, finally received her first art museum retrospective—a goal that curator Kathy Edwards was determined to meet. Building on the Lil Picard Collection and the Lil Picard Papers, In place of a traditional donated to UI in 1994 largely exhibition catalogue, because of Picard’s friendship the UIMA has created an Lilli Elisabeth Benedick, c. 1915 with Jon Hendricks, Edwards interactive website: Lil Picard Papers, Special Collections, has conceived a fascinating www.lilpicard.org.

UI Libraries exhibition of more than seventy original works and re-created installations, with audio, video, and a Exhibition sponsors: multimedia website.

For Picard, the downtown art scene of Manhattan was a perfect fit. She was already making “collagepaintings” and assemblages in the 1940s when her

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Silver Sponsors: Doug and Linda Paul Contributing sponsors: UIMA Member’s Exhibition Fund Lil’s List UI Arts and Humanities Initiative

E X H I B I T I ON

The Painter’s Alphabet, 1958–59 Oil and collage on Masonite 1411.1999

Hide and Seek House, 1960 Assemblage 1013.1999

Ballad of Sweet Peas (Peace) and Lollypops, 1966 Performance on the Staten Island Ferry, part of the 5th Annual Avant Garde Festival organized by artist Charlotte Moorman Gelatin silver photograph. Photo: Diane DorrDorynek

Construction-Destruction-Construction, November, 1967 at The Factory

Art works: © Lil Picard Collection, University of Iowa Libraries Photos: © Lil Picard Papers, University of Iowa Museum of Art

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LECTURE

Carolee Schneemann March 2, 7:30 p.m.

University Athletic Club Carolee Schneemann developed her feministcentered art before the feminist movement existed. Working across media, Schneemann began to explore social taboos in 1963 with Eye Body–36 Transformative Actions, in which her naked body was an extension of the large painting constructions under way in her studio.

“After leaving college,” Schneemann has said, “I first entered the art world with a small group of committed artist friends—poets, composers, filmmakers—who sustained what I needed to develop with the example of their own explorations. At times I have felt isolated and uncertain, but I’ve persisted in my work, being compelled to realize imagery through unpredictable materials.”

Schneemann’s self-shot heterosexual film Fuses will also be shown March 1. Schneemann wanted to know how a woman’s depiction of her own sexuality differed from pornography and nudity in classical art. The film was no exception to her work, stretching as it did the limits of permissibility. To date, no female art historian or critic has written about Fuses in depth, which Schneemann finds bewildering. “Fuses is different from any pornographic work—being intimate, personal, and from actual daily life. Neither my partner nor I was the object, we were equally the subject and equitably revealing pleasure, tenderness, energy.”

Schneemann has always found inspiration in the history of art. Her film Up to and Including Her Limits Schneemann was just responded to Jackson twenty-four years old when Pollock’s physicalized she met Lil Picard in Paris painting process. In the film, in 1964. Drawn to the “older suspended in a tree-surgeon’s woman who was still so harness, with crayons in vibrant and sexy,” she says her extended hands and that the two artists had few propelled by the motion acknowledged precedents Carolee Schneemann of the rope, Schneemann photo by Alex Sweetman for their friendship; their strokes a wall of paper, only certainty was that they building a web of energy over time. This film can were activist artists within a world of exclusionary also be viewed on March 1. masculine aesthetic traditions. The pair met when Schneemann was invited to create her kinetic theater piece Meat Joy for Jean-Jacques Lebel’s Festival of Free Expression. The film of Meat Joy, to be shown on the UI campus March 1, depicts nearly nude performers interacting with raw fish, chickens, sausages, wet paint, plastic, rope, and shredded scrap paper. “Its propulsion is toward the ecstatic—shifting and turning between tenderness, wilderness, precision, abandon, qualities which could at any moment be sensual, comic, joyous, repellent,” said Schneemann.

Schneemann’s works have been shown at the Los Angeles Museum of Contemporary Art, in New York City at the New Museum of Contemporary Art, the Museum of Modern Art, and the Whitney Museum, as well as at the Reina Sofia in Madrid, Moderna Museet in Stockholm, and the Pompidou, Paris. Her recent multichannel video installation Precarious was commissioned for the Tate Liverpool festival Abandon Normal Devices in September 2009.

Co-sponsored by the UI Theatre Arts Department Some material may be unsuitable for younger audiences; parental guidance is advised.

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FILMS

“Rites of Resistance: Gender, Performance, Art, and Film in the ‘60s and ‘70s” A collaboration between the UIMA and Cinema & Comparative Literature A series of films organized by David Oscar Harvey and Andrew Ritchey, graduate students in the UI Department of Cinema and Comparative Literature

Minimalist and pop art, the social rights movements of the New York art scene, homosexuality, feminism, female spirit and sexuality—these are among the themes of a film series to be presented this spring in a collaboration between the Department of Cinema and Comparative Literature and the UIMA. Artists including Carolee Schneemann, Yoko Ono, Andy Warhol, and Hannah Wilke, contemporaries of Lil Picard, appear in a diverse group of films to be screened in conjunction with Lil Picard and Counterculture New York.

Each of the six screenings pertains to a different facet of the art and artists prominent in New York during the 1960s and 1970s. Films such as Valie Export’s Touch Cinema and Yoko Ono’s Cut Piece document intriguing performance work that pushed the boundaries of art, social norms, and traditional values in American culture. Schneemann’s Up To and Including Her Limits, the first screening in the film series, was made in part as a response to Jackson Pollock’s process of painting; in it Schneemann suspends herself in a tree surgeon’s harness, stroking the surrounding walls and floor with crayons as her body becomes marked with traces of her own process.

Sponsored by: Robert A. Rasley Kumi Morris and William T. Downing

Film Series Schedule Each of the events includes multiple films by a single artist or a series of films by different artists that together present a unified theme. For more information on the film series, please visit uima.uiowa.edu.

Carolee Schneemann: Erotic Rites in Film & Video Tuesday, March 1, 7 p.m.

Adler Journalism Building, Room E105 Venus in Furs: Sex in the New York Underground Friday, March 4, 7 p.m.

Samuel L. Becker Communication Studies Building, Room 101 Flaming Lips: Feminist Performance Tuesday, March 8, 6–10 p.m.

Adler Journalism Building, Room E105 Yoko Ono Tuesday, March 29, 7 p.m.

Adler Journalism Building, Room E105 Gay Shame Friday, April 8, 7 p.m.

Adler Journalism Building, Room E105 Fact Meets Fiction: Feminist Performative Documentaries Friday, April 15, 7 p.m.

Adler Journalism Building, Room E105

Some material may be unsuitable for younger audiences; parental guidance is advised.

These films complement Lil Picard and Counterculture New York not only in the representation of artists whom she wrote about, but also by placing Picard’s own work in context of the time.

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LECTURE

The Bette Spriestersbach Distinguished Lecture “The Education of Andy Warhol” Louis Menand

April 7, 7:30 p.m.

Pappajohn Business Building Auditorium, Room W10

Warhol,” on April 7 at 7:30 p.m. in room W10 of the Pappajohn Business Building.

Louis Menand

Louis Menand, the Anne T. and Robert M. Bass Professor of English and American Literature and Language at Harvard University and Pulitzer Prize winner in history, will present a talk, “The Education of Andy

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Francis Parkman Prize from the Society of American Historians, provides an intellectual and cultural history of America Andy Warhol came to New York during the late nineteenth City from Pittsburgh in 1949. He and early twentieth centuries, enjoyed success as a commercial chronicling the development artist almost immediately, but of pragmatism in particular. struggled to achieve recognition Menand, a staff writer for The as a fine artist. His breakthrough New Yorker whose most recent show, “32 Campbell’s Soup Cans,” project is a book examining the was mounted in 1962. Menand interaction between art and will discuss Warhol’s trajectory politics during the cold war, lives from shoe advertisements and in New York City and Cambridge, album covers to The Factory, his Massachusetts. He received his studio and the hub of the sixties’ Ph.D. with distinction and M.A. avant-garde. with high honors from Columbia University.

The Metaphysical Club: A Story of Ideas in America, the book which won Menand the Pulitzer Prize in history and the

LECTURE

Jeanne and Richard Levitt Lectureship:

American Crafts in Context

“He’s Balancing a Diamond on a Blade of Grass” Ron Kovatch April 14, 7:30 p.m.

Pappajohn Business Building, Room W151

Ron Kovatch writes, “Superficial advertisements, news headlines, fashion magazines, lyrics from Tom Waits music are significant motivation for each image.”

Balancing a Diamond on a Blade of Grass,” Kovatch will talk about this transition from clay to paper. Through an overview of his works, which have been shown in more than fifteen solo exhibitions and many group exhibitions, Kovatch will link issues of creativity and its conceptual process to studio methods.

Life Got Better After He Threw Out All His Things

Drinking and Driving

A University of Illinois professor of ceramics and drawing, he has said that he acts on whims of conceptual relevance, reaction to news events, cultural ethics, prejudice, violence, truth, and lies to create his mixed media works.

After a long career in the field of ceramics, Kovatch, who received his B.F.A. degree from the Kansas City Art Institute and his M.F.A. from Southern Illinois University at Edwardsville, reinvented himself as an artist of works on paper. In his lecture, “He’s

A Magical Hypnotic Precision

It’s The Next Big Thing

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E D U C A T I ON

Education outreach adds American Indian program to its curricula Classroom presentations have become second nature to UIMA Director of Education Dale Fisher and his assistant Chris Merkle-Carrasco, and the entire UIMA Docent outreach team. This year, its newest program, on UIMA’s American Indian collection, makes its debut.

Early this past fall, Merkle-Carrasco visited Joel Mixdorf’s third-grade art class at Coralville Central

Third grade students in Joel Mixdorf’s Coralville Central Elementary art class carefully look at a Ledger drawing and a Zuni fetish figure.

Elementary, producing gasps of excitement when he unveiled a colorfully painted Acoma ceramic vessel. The young art enthusiasts noted the important symbolism of the arrow lifeline stretching from the deer’s mouth to its heart. MerkleCarrasco discussed the medium, technique, and symbolism of American Indian art before passing around objects for students to handle.

literature classes. “What’s nice about this program is that it touches on several areas,” Fisher said. “It fits so well because it’s American history and art together. This program will give students an opportunity to understand the history of this country through a different approach.”

Newly acquired works in the outreach collection were purchased

A Coralville Central Elementary student carefully examines the technique used to create this earthenware Bear Claw Pot.

with funds from the UIMA Education Partners specifically for the K–12 outreach program, and aim to educate students through hands-on teaching. Through careful handling of these objects, students have an extraordinary experience with art, and teachers can connect their classroom curriculum to the work of the Museum.

The American Indian collection will reach far beyond art classrooms with plans to visit global studies, social studies, language arts, and

Education Partners: Anonymous Family Foundation, Mary K. Calkin, E. Anthony Otoadese and Claudia L. Corwin, Polly S. and Armond Pagliai, Mary Frances Ramsey Memorial Fund, William and Marlene W. Stanford, Gordon B. and Faye Hyde Strayer

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Meet Dale’s new assistant, Chris Merkle-Carrasco

Chris Merkle-Carrasco

“My primary task as Dale’s assistant is to maintain the schedule for the Museum’s educational programs. I enjoy my other responsibilities as well, including researching and writing about works for the outreach programs, presenting to classes, and working with the dedicated UIMA docents. I am excited to help Dale widen the scope of cultures represented in the WOW program.”

On presenting to K–12 students: “On one visit to a third-grade class, I was surprised by the number of children who wanted to smell the Pueblo ceramics. The students took full advantage of their WOW experience by using all possible senses. Through smell, the organic materials and firing process of the clay pots resonated in a way text alone cannot facilitate.”

On what he has learned in his new role: “Before volunteering with the Museum last year, I didn’t know the role that an education department plays in a museum. Since then, I have learned the many responsibilities, including organizing educational events to complement exhibitions.

My experience working with Dale augments my college experience as I continue to learn about the UIMA’s programming.”

E D U C A T I ON

Coming to a School Near You! The UIMA’s educational programs offer varied audiences the opportunity to learn about art through specialized teaching methods adapted for each group. The UIMA serves many schoolchildren at all age levels across eastern Iowa each year during classroom visits. These are some of the many American Indian objects intended to teach students history through the handling of art.

Acoma Vessel (Deer, Parrot) Adrian Trujillo Culture: Acoma Pueblo Size: 6.75” x 8”

Kachina Figure Artist: Michael Kanteena Culture: Laguna Pueblo Size: 11” x 3”

Pueblo pottery

Ledger drawing

Originally crafted as a means to store surplus crops and water, Pueblo pottery was later made for collectors, galleries, and museums.

Each of the six pueblos—a term used to indicate a location, a style, or a people and culture—represented in the American Indian collection produced a unique style, in part because of natural landscape barriers.

Today, Pueblo artisans carry on their tradition of handcrafted pottery in traditional and contemporary styles.

Late in the nineteenth century, American Indians drew images of battle, daily life, and legends in ledger (accounting) books.

Contemporary artist Merle Locke depicts historical scenes and warriors from his Oglala Lakota heritage.

Though his works are contemporary, the scenes he draws pay homage to the art and culture of Indian peoples from past centuries.

Ledger Drawing Artist: Merle Locke Culture: Lakota (Sioux) Size: 7.5” x 9”

Kachina figure

Fetish figures

Michael Kanteena’s Kachina figure was inspired by the Hopi Pueblo, who believed Kachina deities held power over rain and agriculture. To bring the deities honor, Hopi men carved figures and presented them to children during festival dances. These figures were educational, not meant as toys. Children studied each figure’s symbol to learn about cultural values.

Pueblo Indians believed that fetish figures possessed spiritual powers. These animal figures, carved from stone and possessing an attributed power, assisted humans and were highly prized and cared for in Pueblo culture. Religious leaders called upon fetishes for help and blessings upon many activities, including hunting, diagnosing and curing disease, initiations, and war, and for protection against malevolent spirits. Contemporary Pueblo artisans carry on the tradition of fetish carving.

Zuni Bear Family Fetish Artist: Ed Lementino Culture: Zuni Size: 2.25” x 2.25”

To learn more about the UIMA outreach programs, contact Dale Fisher, at (319) 335-1730 or uima-education@uiowa.edu.

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E D U C A T I ON

Introducing “View and DO” Family Activity Packets at the UIMA@IMU Art is an aesthetic inquiry into the nature of reality—and at the heart of the UIMA mission is the recognition that a public engaged in experiencing art is the Museum’s ultimate goal.

With this in mind, and to build upon and increase our community of art enthusiasts, the University of Iowa Museum of Art is delighted to introduce UIMA “View and DO” Family Activity Packets.

Conceived by UIMA Director of Education Dale Fisher and created by UI undergraduate students in the Museum studies certification program, the “View and DO” Family Activity Packet is a self-guided tour that adults can use to introduce children to important works of art. Each of the ten selections in the packet is based on a work of art in the UIMA permanent collection. Through questions and “view and do” activities, the gallery guide and activity book will involve children, stimulate ideas, and engage your family in a dialogue about art.

The “View and DO” Family Activity Packets are available upon request at the UIMA@IMU. Gallery attendants can assist your family in locating the objects featured in the packet and will be available to answer your questions.

The UIMA@IMU is free and open to the public 10 a.m.–5 p.m. Tuesday, Wednesday, Friday; 10 a.m.–9 p.m. Thursday; and 12–5 p.m. Saturday and Sunday.

Mexico; Colima Seated incised dog, 100 BCE–250 CE Terracotta Gift of Gerald and Hope Solomons 1995.77

A special thank you to Carl and Julie Schweser, generous sponsors of the UIMA “View and DO” Family Activity Packets.

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FREE

E D U C A T I ON

Hey, UI students— to the Figge Art Museum!

Sunday, January 30

BUS TRIP Start your spring semester off right! UI students are invited to sign up for a FREE bus trip to visit the Figge Art Museum in Davenport, Iowa, one hour east of Iowa City. The trip will include a public talk

by UI professor of American art history Joni Kinsey, surveying images relating to American artists’ involvement with railroads, and the impact of their art on tourism and travel. Her lecture is being held in conjunction with the exhibition Tracks: The Railroad in Photographs from the George Eastman House Collection opening January 15 at the Figge.

Bring your UI ID card for free admission to the Figge Art Museum.

Seating is limited! Reserve your seat by calling (319) 335-3676. For more information, visit uima.uiowa.edu.

Bus Schedule

*Buses from downtown and parking at the Studio Arts Building are available.

Figge to Studio Arts

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) 335-1727.

Sponsored by Yvonne McCabe

Studio Arts to Figge*

Leave: 12:30 p.m.

Arrive: 1:30 p.m.

Leave: 5:00 p.m.

Arrive: 6:00 p.m.

You are also invited to attend the Those Who Can: The University of Iowa School of Art & Art History Studio Faculty Exhibition reception: 3:00–5:00 p.m. at the Figge.

A Bijou Theater collaboration with UIMA Jean-Michel Basquiat: The Radiant Child A film by Tamra Davis 6:00 p.m.

Public screening

already achieved wide fame by age 25, before a heroin addiction 7:45 p.m. UIMA took his life two years donors-only screening later, befriended and collaborated with American pop artist A graffiti artist in the Andy Warhol. Directed crime-ridden streets of

by Tamra Davis, a close 1970s New York City, friend of Basquiat, the Jean-Michel Basquiat film shines light on is often regarded as his ascent to rock-star a token black artist status, and includes who battled with interviews with artracism from his peers world luminaries such but achieved critical as Julian Schnabel, success in the art Larry Gagosian, and world. Basquiat, who’d Tony Shafrazi.

JEAN-MICHEL BASQUIAT: THE RADIANT CHILD

Sponsored by: Robert A. Rasley,

Kumi Morris and William T. Downing 17

D ONO R E V ENTS

Spring 2011 Elliott Society Lecture Series: “Classical to Cutting Edge” For UIMA donors at the Elliott Society level ($150 and above), the UIMA offers this spring’s special two-part lecture series, “Classical to Cutting Edge.” Both presentations will take place at the University Athletic Club, 1360 Melrose Avenue, Iowa City. Join us for a brief social time at 5 p.m.; lectures will 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.

Thursday, January 27 “The Lives of the Dead in the Ancient Roman Empire” Brenda Longfellow In ancient Roman cities, cemeteries usually developed along the main roads leading into town. Due to the social need to perpetuate one’s memory after death, the most advantageous tomb plots were those closest to the road, where the life achievements of the deceased might be seen and remarked upon by many passersby. The varied size and opulence of Roman funerary monuments, which ranged from the immense circular and pyramidal tombs of the elites to the diminutive cubical tombs associated with freedmen, reflect the varied economic and social statuses of the tomb owners. The one feature common to almost every tomb was the display of portraits of the deceased. Assistant Professor Brenda Longfellow of the UI School of Art and Art History will consider the UIMA’s double portrait funerary relief within the larger context of Roman funerary art, exploring who in Roman society would commission such a relief for a tomb, why it takes the form that it does, and the message it conveyed to the living.

Longfellow has been a faculty member at the University of Iowa since 2005. She earned her Ph.D. in Classical Art and Archaeology from the University of Michigan, specializing in the art of the ancient Roman Empire. She has published on topics ranging from the Villa of the Mysteries in Pompeii to a statue of Venus excavated in Egypt.

The author of Roman Imperialism and Civic Patronage: Form, Meaning and Ideology in Monumental Fountain Complexes (Cambridge and New York, 2010), her research has been supported by grants from the Samuel H. Kress Foundation and the Loeb Classical Library Foundation of Harvard University.

Thursday, February 3 “What Is Intermedia, Anyway?”

Sarah Kanouse Intermedia, a term coined by the artist Dick Higgins in the midsixties, describes the way that experimental art crosses boundaries between recognized media and employs non-art materials, methods, and processes. Over time, recognition in their own right has come to some of these experimental media, including installation art, performance art, and electronic art. Just a few years after intermedia debuted in the art world, it came to the University of Iowa. Joining the studio arts programs in 1968, the UI Intermedia Program prefigured the establishment of countless interdisciplinary studio programs under a host of different names.

Sarah Kanouse, UI Intermedia Program faculty member, will present a talk on intermedia’s extended family, from Dada, happenings, and Fluxus to today’s explorations in new media and social practice.

Kanouse is an interdisciplinary artist whose individual and collaborative work has appeared in exhibitions and screenings in cities around the world, including Chicago, Los Angeles, and Belgrade, Serbia. Examining citizenship, public space, landscape, and historical memory, her work takes many forms: web platforms, multimedia, print materials, group events, video, and radio transmissions. Kanouse received her undergraduate education from Yale University and her M.F.A. in studio art from the University of Illinois. She now teaches specialized classes in timebased media and art and ecology, as well as core courses in the undergraduate and graduate intermedia programs.

Sponsored by: Agnes M. and Michael A. Apicella; James A. and Katherine Rathe Clifton 18 u i ma .uiowa.edu

D ONO R E V ENTS

Join fellow UIMA Donors: Special events just for you

UIMA supporters have enjoyed their time at past invitation-only events.

Supporting the Museum of Art has its advantages! Museum donors receive invitations to attend special events, lectures, tours, and exhibitions. Programs such as these integrate our patrons into the life of the Museum and provide them with exclusive insight into the world of art. It is because of the support of our donors that the Museum continues to be one of Iowa’s great treasures. Do not miss the opportunity to take advantage of our donor courtesies and attend these fabulous events.

If your generous gift qualifies you for one of these events, watch for your invitation in the mail, visit our website, or call (319) 335-1727 for more information.

New Donor Tour and Lunch Saturday, February 12 10 a.m.–12:30 p.m.

Iowa Memorial Union, River Room I

Now that you’ve joined the Museum, join the fun! The UI Museum of Art staff invites new donors and their families to learn about our Museum space, visual classroom, and the permanent collection on view. Enjoy a private tour of the UIMA@IMU gallery space, led by Director of Education Dale Fisher, followed by a casual buffet lunch.

Fisher not only coordinates UI class visits and public programs, he is also responsible for reaching out

to K–12 schools throughout the state, bringing art into individual classrooms. His knowledge of the UIMA collections and his presentational skills will combine for a memorable tour. Fisher and other UIMA staff will answer questions about the collections and the future of the Museum following the tour.

Curator’s Circle Reception

(annual support starting at $250) Friday, April 1 7:30–10 p.m.

Iowa Memorial Union, North Room It’s April Fool’s Day, and tricksters beware . . . the UIMA is planning a surprise! This year’s Curator’s

Circle event will be a fascinating presentation about an upcoming exhibition already in the works!

Director’s Circle Reception

(annual support starting at $1,000) Saturday, May 21 7–10 p.m.

Iowa Memorial Union, Ballroom Mark your calendars; don’t miss this year’s annual reception! Contributors to the Director’s Circle are invited to attend a very special private event.

Director Sean O’Harrow is planning an informative and elegant evening that is sure to make his first Director’s Circle Reception a memorable event for all in attendance.

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M U SE U M P A R T Y ! 2 0 1 0

Party!’ing in Lil Picard style

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03 06 The UIMA Members Council brought to life the vibes of a 1960s New York City happening at the 2010 Museum Party!. The evening was centered on the work of Lil Picard in anticipation of the upcoming exhibition Lil Picard and Counterculture New York.

As the Rich Webster Band played hits by Elton John, the Beatles, Van Morrison, and the like, guests who dressed up in wigs, hats, and boas had their pictures taken in the photo booth. Some attendees donned groovy accessories and burned ties, making the entire evening a voguish affair that Lil Picard herself would have been proud to attend.

While the decorations and theme made the past the present, the true

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tone of the evening was one of hope and optimism toward the future of the UIMA. Charlie Nusser of the UIMA Members Council and grandson of honorary chairs Sandy and Susan Boyd, voiced this feeling with touching remarks about the Museum and a proud introduction of our new director, Dr. Sean O’Harrow.

The evening ensured the success of 2011 Museum programming, exhibitions, events, and collection care. Party! attendees and Museum supporters purchased a variety of sponsorships, all of which are vital to the UIMA’s goal of providing firsthand experience with real works of art to the community at large.

With the support of over 180 guests, more than $95,500 was raised.

Former UI President Sandy Boyd and his wife, Susan, have been involved in the Museum of Art since its beginning. Their strong legacy of support for the arts continues to enliven the UIMA, the state of Iowa, and beyond. The UIMA extends its heartfelt gratitude to those who supported the Museum at the 2010 Party!. This generosity is fundamental to the mission of the UIMA. The evening would not have been possible without the imagination, expertise, time, and optimism of the Party! planning committee headed by the event chair, Kristin Hardy.

Mark your calendars now! This year’s Museum Party! is scheduled for Saturday, October 29.

M U SE U M P A R T Y ! 2 0 1 0

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1 - Madgetta and Claibourne Dungy dance the night away to hits from the 60’s and 70’s performed by the Rich Webster Band.

2 - Lookin’ good! Polly Lepic of the Members Council and her husband, Tom, get into character for the Party!

Photos by Impact Photography

6 - Carl Schweser, Ann and Dave Ricketts, and Julie Schweser were all smiles.

7 - David Bright admires the wigs of Darcie Yamada and Anna Moyers Stone, who took fashion tips from Lil Picard!

8 - Wally and Karen Chappell visit with UIMA Director, Sean O’Harrow.

3 - Thank you, Debbie and Steve Rohrbach, for your UIMA sponsorship!

9 - Freda Stelzer, Advisory Board Chair Nancy Willis, and Linda Thrasher.

4 - Monica Moen, Marc Moen, Vicki Lensing, and Michael Lensing show their excitement for the UIMA’s annual fundraiser.

10 - Megan Otis, Meghan Centers, and Calla Nassif, UIMA student employees, take a break from helping at the Party!.

5 - Honorary Party! Chair and former UIMA Interim Director Sandy Boyd, Gerry Ambrose, and Tom Lepic show their support for the Museum by wearing flashing sponsorship necklaces—shining examples of vital UIMA patronage!

11 - UIMA sponsors H. Dee and Myrene Hoover show off the flashing necklaces they received as a sign of their support of the Museum.

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13 - Kristin Summerwill, past president of the Members Council, and Pat Hanick, associate director of development for the UI Foundation, show their support for the UIMA. 14 - Ross Nusser, Richard Smith, Lynn Lanning, Honorary Chair Susan Boyd, and UIMA Magazine sponsor Bill Nusser, come together to support the UIMA. 15 - Party! Committee Chair Kristin Hardy and Members Council President Kumi Morris dressed in their finest 70’s attire.

16 - Michael and Teresa Kelly hit the dance floor.

12 - The Rich Webster Band entertains guests, performing hits from the 60’s and 70’s.

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S P OT L I G HT

Spotlight: UIMA@IMU Gallery Attendants This year, the UIMA welcomed three new gallery attendants to serve as hosts in the on-campus exhibition space, the UIMA@IMU. Working under the direction of UIMA Director of Education Dale Fisher, gallery attendants provide an orientation to the Museum’s recent history, explaining how the visual classroom was developed, and offer guided tours.

“The UIMA gallery attendants demonstrate a considerable knowledge and flexibility when called into action by classes and the public,” Dale Fisher said. “With the diverse audiences we serve and their idiosyncratic reasons for visiting the UIMA@IMU, the journey that the guest and the attendant undertake is a great learning experience for both.”

Your majors and interest in museum studies seem to be brought together at the UIMA. How are you using this experience to further your education at Iowa?

“I am very interested in the politics surrounding museums and the education processes. Working at the UIMA@IMU is a good learning experience because the university context means it is based around education.

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Josh Siefken

B.A. in journalism and mass communications; Certificate in Museum Studies

Elizabeth Shores

Katy Mickelson Major: B.F.A. in photography;

Major: B.F.A. in intermedia; minor

Major: B.A. in art history; Certificate

in French

in Museum Studies

How are you able to combine your interest in the visual arts with your minor in French at the UIMA@IMU?

Last semester you worked in the UIMA offices, building traveling cases for objects used in the education outreach program.

How has that experience affected your work now in the gallery?

“The study of Chinese and French has aided me in beginning to better understand the cultures that speak those languages. Besides learning how to speak the language, studying the history and daily activities of different groups of people makes it easier to better appreciate their art objects.”

“The work I did last semester and over the summer gave me a different insight into how museums are run. I am more aware of the conservation and safety of the objects as a gallery attendant. We are trained to greet guests and make sure that backpacks, handbags, and pens do not enter the gallery because these items can compromise the safety and security of objects on display.”

V O L U NTEE R S

Serving A Community: Volunteering at All Levels Bringing art into a child’s life, surrounding yourself with beautiful objects, and meeting new people who share a passion for the arts; these are all ways to improve not only your own life, but also the vitality of the community around you. The UIMA’s multifaceted needs provide a variety of opportunities for our volunteers to enrich themselves and their surroundings.

Volunteers are crucial to the success of the Museum’s mission. We strive to provide a range of volunteer commitment levels, from docents, the largest responsibility, to gallery hosts, and special events volunteers.

A Dedicated Volunteer: Linda Paul

To volunteer at our upcoming Tuesday, February 15: noon exhibition, Lil Picard and Tuesday, February 22: noon Counterculture New York, and to attend Tuesday, March 1: noon one of the brief training sessions, please contact Teresa Kelly at

addition to giving me opportunities to appreciate and learn about art, I have met the most wonderful fellow volunteers. Great art plus great people—who wouldn’t want to volunteer for that?”

Linda Paul of the UIMA Advisory Board and, previously, the Members Council, also demonstrates her support of the arts by serving as a docent. “Through the years, I’ve increased my commitment to the Museum,” Paul says, “and I guess the reason is that the collection inspires me.” A friend of hers once explained a conclusion like Paul’s by saying that paintings made her “feel marvelous.”

However, the greatest satisfaction for Paul comes in giving tours to elementary students. This is also An Opportunity Just for You! the area which she finds to be Volunteering to be a gallery host at Linda Paul proudly teaches about African art most essential: education. Paul during one of last year’s “WOW!” program experiences the success of the WOW/ special exhibitions in the UIMA@ classroom visits.

IMU is an opportunity to surround Discover Africa program firsthand, yourself with one-of-a-kind works in the classrooms through students’ mtjwkelly@mchsi.com or (319) 400- energy and gratitude. However, she of art. If you are new to the UIMA, 6715. Scheduling and training will be agrees that education at all levels, this is a perfect introduction to our arranged by email. collection and programming; if you and “keeping us all interested and are a current volunteer, we hope you Volunteer hosting sessions are involved in the Museum” is the will participate, stay current with fundamental mission of the UIMA for 2–3 hours, Tuesdays through Museum activities, and remain active Sundays. There will be 17 sessions docents. as a UIMA volunteer. Welcoming per week from February 24–May Paul’s active engagement exemplifies visitors to the exhibitions, supplying 27. Training sessions will last one her long-term dedication to her basic information about the UIMA, hour—30 minutes for an outline of community. She sums up her and passing your knowledge onto responsibilities and 30 minutes for experience with the Museum others are integral parts of the an overview of the exhibition. by saying, “Volunteering for the experience of art!

UIMA has truly enriched my life. In Training session dates and times:

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E X H I B I T I ON

A sports hero, publisher, princess, fashion designer, and two Rolling Stones

Andy Warhol (American, 1930–1987), Wayne Gretzky, 1983 or ‘84, Polacolor ER; Gardener Cowles, November 1976, Polacolor type 108; Caroline, Princess of Monaco, 1983, Polacolor ER; Diane von Furstenberg, 1984, Polacolor ER; Rolling Stones, 1983, Polacolor type 108. Gift of the Andy Warhol Photographic Legacy Program 2008.120, 143, 64, 83, 158

Over the course of seventeen years, the pop artist Andy Warhol snapped thousands of photos, the majority of which were never seen by the public. In 2007, as part of the Andy Warhol Photographic Legacy Program, the Andy Warhol Foundation for the Visual Arts donated more than 28,500 of his original Polaroids to over 180 college and university museums and galleries across the country.

Each institution received a curated selection of at least one hundred Polaroids, which Warhol used as studies for his silk-screened and gelatin silver prints, and fifty black-andwhite photos, from a collection which reflects both the sheer quantity and remarkable range and subject matter that Warhol captured with his camera.

The UIMA received 153 photos as part of the legacy program. Newly on view at the UIMA@IMU will be photographs of

American hockey star Wayne Gretzky, author Truman Capote, visual artists R.C. Gorman and John Chamberlain (with his wife, Lorraine), art dealers Thomas Ammann and Martin Blinder, musician Rick Ocasek, Mick Jagger and Charlie Watts of the Rolling Stones, Princess Caroline of Monaco, art collector Bonnie Wintersteen, fashion designer Diane von Furstenberg; and Iowa native Gardener (Mike) Cowles, who served as president of the Des Moines Register before moving to New York to start several magazines.

Information about Warhol’s process is revealed in these photographs. Evident throughout his compositions is the intense, perhaps brief, emotional connection Warhol held with his sitters.

The UIMA@IMU is open 10 a.m.–5 p.m. Tuesday, Wednesday, Friday; 10 a.m.–9 p.m. Thursday; and 12–5 p.m. Saturday and Sunday.

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Selections from the Stanley Collection

E X H I B I T I ON

UIMA@FIGGE Legacy Update

The Legacy exhibition

Guinea Coast, Nigeria, Ibibio people Joseph Chukwu Mammy Wata figure, c. 1975 Wood, fiber, pigment Gift of Pamela J. Brink, R.N., Ph.D. 1991.225

The UIMA’s first exhibition at the Figge Art Museum, A Legacy for Iowa: Pollock’s Mural and Modern Masterworks from the University of Iowa Museum of Art, opened on April 19, 2009, after the 2008 flood displaced the Museum’s permanent collection. This spring, the exhibition will undergo changes as some artworks are replaced and others are installed.

A gallery of UIMA African art opened in the Figge Art Museum in Davenport early in December.

Curated by Professor Christopher Roy, Selections from the Stanley Collection includes more than thirty African objects and represents the artistic diversity Red No. 28 by Japanese artist Yayoi Kusama, one of the twenty-two paintings in the original found throughout the continent.

Figge exhibition, will be reframed with generous Max and Elizabeth Stanley, the Muscatine natives support from UIMA sponsors Alan and Ann who sparked the specialization of study in African January. A gift from Mr. and Mrs. Gaston de art at the University of Iowa in 1978 with the Havenon, the painting was donated to the hiring of Roy, generously donated their collection Museum nine years after its completion, in 1960. of more than six hundred of the finest examples Hans Hofmann’s The Red Cap will replace Red of African art to the UIMA in the late 1970s. The No. 28 in the Figge gallery. Hofmann’s exuberant, Stanley Collection allows students in Iowa to color-filled canvas, a gift from Dorothy Schramm, witness the universal human bonds in beliefs will join the ongoing exhibition alongside other about life, death, and family expressed in African UIMA masterpieces. art.

Joán Miró’s painting A Drop of Dew Falling from the Selections from the Stanley Collection joins the Legacy Wing of a Bird Awakens Rosalie Asleep in the Shade exhibition already installed at the Figge, in a of a Cobweb will be lent to the traveling exhibition collaborative pairing of art from different periods Joan Miró: The Ladder of Escape, co-organized by and continents. the Tate Modern and the Fundació Joan Miró. The painting will be displayed at the Tate in London “African artists discovered, centuries before (April 14–September 11, 2011); the Fundació Western artists, that the most effective way of Joan Miró in Barcelona (October 13, 2011–March representing abstract ideas is through abstract 25, 2012); and the National Gallery of Art in art. When Picasso, Vlaminck, Derain, and others discovered the genius of African art, they changed Washington, D.C. (May–August 2012). “This is a true testament to the importance of the UIMA the course of art history,” noted Roy. collection to the rest of the art museum world,” said Chief Curator Kathy Edwards.

The Figge Art Museum is open Tuesday through Saturday 10 a.m.–5 p.m.; Thursdays 10 a.m.–9 p.m.; and Sundays 12–5 p.m.

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R ESE A R C H

UIMA Graduate Student Travel Stipend Awarded to Karissa Bushman for Goya Research

Francisco de Goya (Spanish, 1746-1828) No se puede saber par que (One can tell why), plate 35 from “Los Desastres de la Guerra” (“The Disasters of War”), printed 1863 Etching and aquatint Gift of Owen and Leone Elliott 1976.43AI

The UIMA print collection contains two early editions of the tour-de-force intaglio series “The Disasters of War”, created by Francisco de Goya from 1810 to 1820 but not published until after his death in 1828. In the 1980s, Goya scholar Eleanor Sayre visited the UIMA to examine the Goyas, gifts of Owen and Leone Elliott, and determined that at least one volume was a first edition. An ongoing mystery since Sayre’s visit has been the attribution of the second volume.

Karissa Bushman (above), a UIMA curatorial assistant and graduate student in the School of Art and Art History who is completing a dissertation on Goya, was invited to untangle the mystery.

First, Bushman studied the titles and numbers of the etchings. “When the prints were first published, the titles contained spelling errors and accent mistakes,” Bushman said. “Subsequent editions corrected those errors.”

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Discovering that both UIMA volumes had those early errors, Bushman focused on the characteristics of the paper they were printed on.

UI research scientist Timothy Barrett, a recent MacArthur Fellow, and Gary Frost, UI Libraries conservator, will test the paper and study the binding.

Bushman’s research has already taken her to Boston and New York to look at similar editions.

She will soon travel to Madrid, Spain, where her most important stop will be at the Royal Academy of Fine Arts, to examine their archives.

Kathy Edwards, UIMA Chief Curator, noted that “the attribution of early editions of “The Disasters of War” has been notoriously difficult.

But the combination of a budding Goya scholar on campus and the Internet created a scenario that was too good to pass up! The Museum is very grateful for the support of our donors who are sponsoring Karissa’s research in Spain for the UIMA.”

Research and Scholarship Gold Sponsors: Serena D. Stier and Steven J. Burton Bronze Sponsor: Kristin Summerwill

OUTREACH

On the road, again…the UIMA staff and volunteers have been on the go!

Summer Orientation and Information Fairs:

The UIMA met incoming freshmen at nine orientation fairs last summer. Almost 500 students visited the Museum’s booth each session. Teresa Kelly, Members Council volunteer chair, organized an energetic group of volunteers who helped newcomers answer the question “Where is your art?”

while other volunteers promoted Museum events and locations.

Outreach: UIMA volunteers

possess an extraordinary ability to engage a wide range of audiences, and their dedication is vital to the Museum’s mission.

Each year, the UIMA makes a presentation at new-faculty orientations and the resident assistant training program. At the UI Volunteer Fair in August, The Iowa State Fair: Megan Otis and Calla Nassif, student approximately thirty Hundreds of children and employees at the UIMA, at the Iowa State Fair students showed interest in adults left the 2010 Iowa the arts by becoming new UIMA volunteers. The State Fair with a temporary tattoo stuck squarely on an arm. That tattoo featured the colorful design Museum gratefully thanked all of its hardworking volunteers by hosting the Volunteer Coffee, an of a kente cloth from the UIMA collection. Dale event with more than forty attendees!

Fisher and his team of educators provided handson experience with outreach program objects,

The UIMA has gone social!

In an effort to keep students, donors, and all interested people connected to the UIMA, we have joined many Internetbased websites as a means to promote events and programs and share our news with you! Be sure to follow us online to receive up-to-date information about the Museum. www.facebook.com/UIMuseumofArt The UIMA’s Facebook page contains photos of events and exhibitions as well as details on upcoming programs.

Become a “fan” of the University of Iowa Museum of Art to stay connected on one of the largest social networks.

www.twitter.com/UIMuseumofArt Follow us on Twitter to receive brief status updates on the Museum. Tweets often contain links to other pages with more information about the UIMA.

www.flickr.com/iowaart Here you can view hundreds of photos from Museum events, exhibitions, and programs. Organized by date, our collection of pictures provides a unique look at the fun for those unable to attend Museum gatherings.

www.youtube.com/UIMAartmatters Our YouTube channel is home to videos shot and edited by Museum employees.

Videos include staff interviews and event filming.

www.issuu.com/uima Interested in reading past issues of the UIMA magazine? Issuu is an electronic library which publishes thousands of magazines, catalogues, and newspapers around the world. Visit the UIMA’s profile to read a selection of our past publications.

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D E V E L O P M ENT

“We are truly grateful for your unwavering support.”

All of us who love the University of Iowa Museum of Art (UIMA) are eager to know what the future has in store for this vital cultural resource. Throughout the last several months, I’ve spoken with various art patrons who have expressed dismay about the uncertainty still surrounding the UIMA’s future, nearly three years after it lost its home in the historic flood of 2008. Patrons question why fundraising has not begun in earnest for a permanent facility. They wonder why the Museum continues to seek outright annual support, given that the majority of its art collection is being stored in temporary facilities. I would like to take this opportunity to address these thoughtful and legitimate questions.

It is important that we understand the considerable influence that the Federal Emergency Management Agency (FEMA) has in determining the Museum’s recovery. Until the UI has exhausted all possible avenues of support from FEMA, it is not in the University’s best interest to initiate fundraising for a new Museum. For now, patience must continue to prevail. That’s because all the money raised for a new building would have to be deducted from the total amount FEMA would provide, if it decided to help us build a new facility. We must check our anxieties and allow the process to run its course, as difficult as that may be.

Although it is true that much of the collection is in storage, the UIMA has proven to be an astonishingly resilient organization that has remained steadfast in its mission to deliver the experience of art to the public, even under extraordinary conditions. The list of Museum exhibitions, openings, lectures, collaborations, acquisitions, and educational programs remains impressive, by any standard.

As the Museum continues to seek outright private support for its diverse and popular programs, it is patrons like you who have ensured that the UIMA has not only survived the flood, but also has remained a vibrant home for art at Iowa. We are truly grateful for your unwavering support.

So, where do we go from here? Rest assured that we will launch a Museum building campaign as soon as the time is right. Meanwhile, please know that planned and outright support from art patrons and friends of the UIMA remains an undeniable statement about the Museum’s brilliant future. For more information about how private support can benefit the UIMA during this transitional period, please visit www.uifoundation.org/uima. We remain deeply grateful for your enduring commitment to one of Iowa’s finest cultural treasures.

Pat Hanick Associate Director of Development College of Liberal Arts and Sciences and University of Iowa Museum of Art The University of Iowa Foundation

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2 0 0 9 - 2 0 1 0 G I F TS

2009–2010 Gifts of Works of Art to the University of Iowa Museum of Art (at date of publication)

Ana Mendieta, Untitled from “Silueta Works in Mexico”, 1976/1991, C-print.

Gift from the estate of Marlene R. Moskowitz, donated in her memory by her children, Howard R. Gerwin and Carol S. Gerwin 2010.22

Gift of the Raphael Club in honor of their 125th anniversary: Helen Hyde, The Bath, 1905, color woodcut, 2009.8

Gift of The Estate of Roscoe and Constance Hungett: Five Pre-Columbian ceramic vessels, 2010.1–2010.5

Gift of G. Ronald Kastner and Patricia Kastner: “Meisterwerke of German Art,” 37 reproductive prints by various artists, published 1883–1884, 2009.13a–ak

Gift of The Sam Francis Foundation: Sam Francis, five prints, 2010.6–2010.10

Four watercolor and pencil drawings on paper by Tom Burckhardt, a portfolio of 10 prints by Erik Desmazières, a mixed media drawing by Sean Mellyn, and five mixed media works on paper by Judith Page, 2010–2010.15a–ak

Gift from the estate of Marlene R. Moskowitz, donated in her memory by her children, Howard R. Gerwin and Carol S. Gerwin: Untitled, from “Silueta Works in Mexico”, 1976/1991, C-print by Ana Mendieta, and a Haitian voodoo flag, 2010.22 and 2010.23

Gift of Robert C. Lipnick: Robert C. Lipnick, Untitled (Lidded goblet), 2009, ceramic, 2009.14

Gift of Dr. Cherie Mohrfeld: Family Doctor, 1941, lithograph by Grant Wood, 2010.24 29

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

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Hands is pleased to welcome Sean O'Harrow, who will polish our most beautiful gem, the UIMA.

Hands is proud to support the UIMA and encourages your support, too.

®

109 E. Washington • Downtown Iowa City 319-351-0333 • 800-728-2888 www.handsjewelers.com Facebook: facebook.com/Hands Jewelers Twitter: @handsjewelers