University of Richmond Museums Spring 2020 Newsletter

UNIVERSITY OF RICHMOND MUSEUMS JOEL AND LILA HARNETT MUSEUM OF ART JOEL AND LILA HARNETT PRINT STUDY CENTER L O R A R O B I N S G A L L E R Y O F D E S I G N F R O M N AT U R E

SPRING SEMESTER 2020

University Museums Executive Director Richard Waller is standing in the exhibition, Robert Taplin: Everything Imagined is Real (After Dante), which was on view last semester in the Harnett Museum of Art. © University Museums, photograph by Meg Eastman Photography

Welcome!

Welcome to the University of Richmond Museums.

We hope you enjoy looking through our newsletter to see what we are presenting in the museums this spring semester. Plan to attend our events and programs, visit the permanent installations, and see our exciting exhibitions in the three museums that comprise the University Museums.

The new year brings a full menu of exhibitions and related events and programming. The next few pages focus on academic and community engagement and student involvement followed by our programs and exhibitions.

The photograph to the left shows one of the amethyst minerals from our collection on loan to the Virginia Museum of Fine Arts and part of their traveling exhibition Magnificent Jewels of Jean Schlumberger on view at the National Museum of Qatar in Doha (October 15 to January 15). The University Museums loaned a group of minerals that are included in the installation, and we are thrilled to be part of the exhibition.

This amethyst from our collection is part of a group of more than thirty mineral specimens loaned to the VMFA for inclusion in the Schlumberger exhibition on view at the National Museum of Qatar in Doha. The photograph was taken by Dr. Monroe E. Harris, Jr., President of the Board of Trustees, VMFA, when he visited the exhibition in Doha.

Don’t miss seeing both our continuing and new exhibitions that complete our 2019-2020 academic year. We look forward to seeing you and your friends at each of the museums on the University of Richmond campus.

Richard Waller Executive Director University of Richmond Museums

Cover: Fritz Ascher (German, 1893-1970), Three Sunflowers (Drei Sonnenblumen), 1948, oil on canvas, 35 3/8 x 27 5/8 inches, Private Collection, cat. no. 50. © 2019 Bianca Stock. From the exhibition Fritz Ascher: Expressionist.

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Exhibition travels to Richmond City Hall

MU SEUM I N A B O X

A version of the exhibition will travel, starting in late Spring, as a MUSEUM IN A BOX. Local schools and community groups will be able to borrow this resource which retells the stories presented in the original exhibition. The BOX will include annotated literary sources, have links for further research, and provide suggested activities for groups. Currently being designed by Delano Creative, thanks to funding in part with a grant from Virginia Humanities, the MUSEUM IN A BOX contains portraits, excerpts, and extensive additional materials including relevant links to K-12 VA standards of learning, and in-classroom and discussion activities. The BOX is free to borrow and will be lent to school educators as well as libraries, civic groups, and churches. For more information or to reserve, contact Martha Wright, mwright3@richmond.edu

This project has been funded in part with a grant from Virginia Humanities.

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Richmond Mayor Levar Stoney addresses the people attending the opening on September 24 of Growing Up in Civil Rights Richmond on view at Richmond City Hall. Š Brian Palmer

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The exhibition Growing Up in Civil Rights Richmond: A Co mmunity Remembers was on view last fall (9/24-12/30) on the first floor of Richmond’s City Hall, continuing to engage more audiences with the stories and activism of local citizens during the Civil Rights era.

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Growing Up in Civil Rights Richmond: A Community Remembers

Engaging Students, Alumni, & Community in Research & Creativity in the Museums

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Kate Wiley, ’20, on Conference Experience

Kate Wiley, ’20, art history major, was the 2019 Harnett Summer Research Fellow, and she reflects on her experience presenting at a regional museum conference.

“In the early weeks of my Harnett Fellowship, Richard Waller encouraged me to apply to present in the Student Work in Museums (SWIM) program at the Southeastern Museums Conference (SEMC). I was accepted to present on my use of Google Slides to create an interactive feature for the Satire and Social Criticism: Prints by William Hogarth from the Collection exhibition that I had curated. I travelled to Charleston, NC in October and had the opportunity to share my work with museum professionals alongside four other undergraduate and graduate students. While at the conference, I attended sessions and networking events, and explored the Gibbes Museum. After my presentation, I was able to talk to museum professionals that were excited about my project and discuss technology in museums.

Carmen Hermo, ’07, on Harnett Biennial

Carmen Hermo, ’07, art history and English double major, was the 2006 Harnett Summer Research Fellow, and is now Associate Curator, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum. Reflecting on her experience jurying our most recent Harnett Biennial: “The submission pool of 365 works by 134 artists was extremely strong, and despite the digital conveyance of the proposals, the submissions rang with visual power, social content, or personal vision — and some of the most powerful work navigated all three.”

Asked to talk about challenges facing museums today, she wrote: “Passion and vision go a long way, but it would be transformative if artists and art spaces were supported on a larger scale. It is important that spaces like the Harnett Museum of Art exist and enrich communities, from college students to city neighbors to a national and global conversation.”

Staff News: Elizabeth Schlatter is New CAA President

N. Elizabeth Schlatter

N. Elizabeth Schlatter, Deputy Director and Curator of Exhibitions, University of Richmond Museums, was named the new president of the College Art Association (CAA) Board of Directors. CAA is a learned society formed in 1911 and focused on promoting scholarship and teaching in the visual arts and design. When asked to discuss the importance of her new leadership position in the organization, she commented: “CAA has supported the study and practice of visual art for over a century and is continuously engaged in making the arts meaningful to all segments of society and especially within higher education. Connecting CAA’s advocacy for the arts with our engagement with students at University of Richmond builds upon our thriving community, which is visible in the recent and fantastic facility upgrades, impressive faculty accomplishments and new hires, and our student, staff, and alumni achievements.”

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Students Enjoying the Museums

s e t a D @ t e e S p r i n goraMRobins Gallery, Boatwright r Fe b . 2 0 , L , M o d li n C e n te rt A f o m u e s u e tt M d!

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MEET @ THE MUSEUM is a FREE, casual event specifically for University of Richmond

students. Students enjoy mingling with friends over festive beverages and tasty hors d’oeuvres while browsing the galleries of the museums. A great opportunity to unwind after classes, meet new friends, network, and discover the University Museums..

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Martha Wright (left) and Yayun Deng, ’20, are shown in the Harnett Print Study Center selecting prints from the collection to be included in the Art & Empathy Portfolios.

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The portfolios of prints from the collection of the Harnett Print Study Center are evocative of thematic issues that people face today, such as gender, race, leadership, migration, to name a few. The portfolios provide a space for conversation allowing viewers to ask questions, listen to different viewpoints, and encourage collaborative steps towards inclusivity.

Yayun Deng, ’20, art history and anthropology double major, is a 2019-2020 Education Assistant, University Museums. She is working with Martha Wright, Assistant Curator of Academic and Public Engagement, University Museums, on researching the artists, writing visual analyses, and developing interpretive questions for groups to consider during their visits to the University Museums. Deng states, “This project gives me a perspective on how museum education functions, and how the permanent collection can be incorporated into new programs bridging communities over important themes. This helps me gain experience as I hope to work in museums in the future.”

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Martha Wright & Yayun Deng, ’20, Develop Art & Empathy Portfolios from the Collection

Free Programs at the U niversit y M useums University Museums programs this semester take place on the campus of the University of Richmond and are free and open to the public (unless otherwise noted).

Wednesday, January 15, 6 to 8 p.m.

6 p.m., Lecture, Camp Concert Hall,

Modlin Center for the Arts

“Forgotten but not Lost: The German Expressionist Fritz Ascher (1893-1970)” Rachel Stern, Director, Fritz Ascher Society, and curator of the exhibition

7 to 8 p.m., Reception and preview of the exhibition Fritz Ascher: Expressionist, Harnett

Museum of Art, University Museums

Thursday, January 16, 1:30 to 2:15 p.m.

Curator’s Walk-Through, Harnett Museum of Art,

Modlin Center for the Arts Rachel Stern Rachel Stern, Director, Fritz Ascher Society, and curator of the exhibition

In conjunction with the exhibition Fritz Ascher: Expressionist

Monday, January 20, 11:30 a.m. to 5:30 p.m.

Martin Luther King, Jr. Day

MLK Commemoration with hands-on children’s activities in the Booth Lobby, Modlin Center, and exhibition Fritz Ascher: Expressionist in the Harnett Museum of Art University Museums 3 p.m., Commemoration Celebration, Camp Concert Hall, Modlin Center for the Arts Keynote speaker TBD

Sunday, February 9, 2 to 3 p.m.

Collection Talk and Tea Reception, Lora Robins Gallery, University Museums “Fantastical Creatures on Court Robes: Political Symbolism in Late Qing Dynasty Textiles” Junru Zhou, ’21, art history and mathematics double major, 2019-2020 Curatorial Assistant, University Museums

In conjunction with the Annual ChinaFest, for details visit theROSEgroup.org

Rank Badge (Buzi) with Qilin (detail), China, Qing Dynasty (1644-1911), circa late nineteenth century early twentieth century, silk thread embroidery with gold metallic thread, 12 1/8 x 12 1/4 inches, Lora Robins Gallery of Design from Nature, University of Richmond Museums, Gift in memory of David June Carver, Jr. (1916-1948), R1960.01.39 © University of Richmond Museums, photograph

by Taylor Dabney

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Free Programs at the U niversit y M useums

Sunday, February 23, 2 to 4 p.m.

Collection Highlight: New Film on Julius J. Lankes Film screening, Westhampton Center Living Room “J. J. Lankes: Yankee Printmaker in Virginia” Introduction by Welford D. Taylor, James

Eduardo Montes-Bradley (left) and Welford D. Taylor

A. Bostwick Professor of English, Emeritus, University of Richmond, and J. J. Lankes biographer and scholar, and discussion

follows with Eduardo Montes-Bradley, filmmaker, at the conclusion of the film (light refreshments served) Event is free, but registration required, call Heather Campbell, Curator of Museum Programs, 287-6324, or email hcampbel@richmond.edu

Wednesday, Feb. 26, 6 to 9 p.m.

University Museums and Modlin Arts present

GREAT ART ON SCREEN: The Prado Museum: A Collection of Wonders

A cinematic journey through one of the world’s greatest museums 6 to 7 p.m., Harnett Museum of Art will be open prior to the screening 7 p.m., Film screening, Camp Concert Hall, Modlin Center (paid tickets required for film), for information modlin.richmond.edu

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Free Programs at the U niversit y M useums Sunday, March 1, 2 to 4 p.m.

Workshop, Lora Robins Gallery, University Museums “Sharing Recipes and Stories: An Interactive Workshop” Bring a copy of one of your favorite recipes or a description of one of your favorite foods to the workshop, where we will engage in one-on-one discussions, sharing personal stories as to how and why food is an important part of our lives, families, and cultures. Participants will make artistic recipe cards inspired by the conversations. All supplies provided.

Free, but registration required, call Heather Campbell, Curator of Museum Programs, 804-287-6324, or email hcampbel@richmond.edu In conjunction with the exhibition Museum Studies Seminar Exhibition

Tuesday, March 3, 6 to 7 p.m.

Department of Art and Art History Lecture Series Lecture, Keller Critique Room K203, Visual Arts Building, Modlin Center for the Arts “Christian River: Egypt, Nubia, and Ethiopia Since Late Antiquity” Giovanni Ruffini, Professor of Classical Studies, Department of History, and Director of the Classical Studies Program, Fairfield University

Sunday, March 22, 2 to 2:45 p.m.

Curator’s Talk, Harnett Museum of Art, University Museums “Easter Eggs: Hogarth’s Hidden References, Part 2” Kate Wiley, ’20, art history major, 2019 Harnett Summer Research

Giovanni Ruffini

Fellow, 2019-2020 Curatorial Assistant, University Museums, and curator of the exhibition

In conjunction with the exhibition Satire & Social Criticism: Prints by William Hogarth from the Collection

Thursday, March 26, 6 to 7 p.m.

Department of Art and Art History Lecture Series Lecture, Keller Critique Room K203, Visual Arts Building, Modlin Center for the Arts Rose Salseda, Assistant Professor of Art and Art History, Stanford University

[see website for further information]

Rose Salseda

Friday, March 27, 4 to 6 p.m.

NCECA 2020 Conference “Multi(VA)lent: Clay, Mindfulness, Memory” Special Reception, Lora Robins Gallery, University Museums Museum will be open for the conference participants and the general public is welcome In conjunction with the National Council on Education for the Ceramic Arts’ 54th Annual Conference, held in Richmond March 25-28, for more details, go to nceca.net

Saturday, March 28, 1 to 5 p.m.

NCECA 2020 Conference “Multi(VA)lent: Clay, Mindfulness, Memory” Special open hours, Lora Robins Gallery, University Museums Museum will be open for the conference participants and the general public is welcome

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Free Programs at the U niversit y M useums Sunday, March 29, 2 to 3 p.m.

Curator’s Talk and Reception, Lora Robins Gallery, University Museums “A Pound of Whatever Silver He Pleases”: History and Economy in the Late Medieval Eastern Mediterranean” Mike Laposata, ’20, history and Arabic studies double major, 2019-2020 Collections Assistant, University Museums

In conjunction with the opening of the online exhibition “A Pound of Whatever Silver He Pleases”: History and Economy in the Late Medieval Eastern Mediterranean from the Lora Robins Gallery Coin Collection (see pages 18-19)

Thursday, April 2, 5 to 7 p.m.

Film screening, Westhampton Center Living Room “Stranger from Within” Introduction by Sonja Bertucci, filmmaker, and Visiting Assistant Professor of Film Studies, University of Richmond

In conjunction with the exhibition Because of Conflict: Photographs by Peter Turnley

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D AY C E L E B R AT ION!

Sunday, April 5, 1 to 3 p.m.

Family Day Celebration, Lora Robins Gallery, University Museums Join us for a FREE arts-centered family fun day with current exhibitions, hands-on art activities, rock and mineral touch stations, and refreshments

Friday, April 17, 1 to 5 p.m.

2020 Arts & Sciences Student Symposium Artists’ Talks (times to be determined), Harnett Museum of Art, Modlin Center for the Arts Talks by senior visual media and arts practice majors in the Annual Senior Thesis Exhibition

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Across Time & Cultures: Ceramic Vessels from the Collection

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LORA ROBINS GALLERY THROUGH MAY 1, 2020

Attic Black-Figure Panel Amphora, Athens, Greece, circa 550 b.c.e., earthenware with slip decoration, 9 7/8 inches tall, with handles 7 inches wide, Lora Robins Gallery of Design from Nature, University of Richmond Museums, Gift of Susan E. Hughes, R 2 0 0 5 . 0 4 . 3 9 . © University Museums, photograph by Taylor Dabney

For more than 25,000 years, humans have shaped, decorated, and fired clay, and vessels are a universal theme in ceramic traditions. Looking across time, global locations, and cultures, the exhibition features a selection of more than forty objects from the collection of the museum to highlight the remarkable universality of ceramic vessels, ranging from an ancient Greek vase made circa 550 b.c.e. to sculptural vases made by a contemporary Japanese artist, from Native American and pre-Columbian bowls to nineteenth-century British and American pitchers and vases, from Oceanic vessels to late Qing Dynasty Chinese porcelains.

“Ceramics have been an all-cultures, all-the-time phenomenon for thousands of years,” wrote New York Times art critic Roberta Smith in 2002. “The continuity of the medium stems also from the slow but steady development of different clay bodies, of slips and glazes, of the potter’s wheel, of stamping and molding techniques.” She goes on to emphasize, “It encompasses social habits, myths and religious beliefs, and economies of both local industry and foreign trade, as well as the impulse to decorate and depict the world.”

Organized by the University of Richmond Museums, the exhibition was curated by Richard Waller, Executive Director, University Museums.

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Continuum: Contemporary Ceramics in Historical Context

Organized by the University of Richmond Museums, the exhibition was curated by Richard Waller, Executive Director, University Museums, in collaboration with Stephen Addiss and Randy Edmonson.

The exhibition is presented in conjunction with the National Council on Education for the Ceramic Arts’ 54th Annual NCECA Conference, titled Multi(VA)lent: Clay, Mindfulness, Memory, to be held in Richmond March 25-28, 2020 (for more details, go to nceca.net).

B e low : St e v e n G la ss ( Ame r ic a n, born 1952), Vessel, 2015, wheel-thrown white stoneware with slip painting and sang gam (Korean inlay technique), 15 x 9 1/2 x 10 1/2 inches, lent courtesy of the artist. © Steven Glass, photograph by Dale Quarterman

Above: Blue and White Ginger Jar (Painted Phoenix), China, Qing Dynasty (1644-1911, circa 1800-1900, porcelain with painted blue and white glazes (wood lid added later), 8 1/4 x 7 1/2 x 7 1/2 inches, Lora Robins Gallery of Design from Nature, University of Richmond Museums, Gift in memory of David June Carver, Jr. (1916-1948), R1989.06.020. © University M u s e u m s , photograph by Taylor Dabney

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Featuring the work of seven contemporary Virginia potters, the exhibition juxtaposes their newly-created objects with historical works from the museum’s extensive ceramics collection highlighting the continuum of clay traditions that go back more than 25,000 years. The exhibition is an exploration of continuing themes and traditions evident in contemporary ceramics. Participating artists are Stephen Addiss, Cricket Edmonson, Randy Edmonson, Steven Glass, John Jessiman, Jeff Vick, and Catherine White. The artists were invited to find resonances with specific objects in the collection and to create new works for this exhibition.

Focused on a range of possible connections, such as theme, symbol, technique, shape, firing, decoration, and glazing, the exhibition emphasizes the profound continuity of ceramics throughout the centuries.

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LORA ROBINS GALLERY THROUGH MAY 1, 2020

HARNETT MUSEUM OF ART, MODLIN CENTER ATRIUM, AND BOOKER HALL LOBBY THROUGH JULY 5, 2020

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”I Am In Between” Divisions of Self & Place in Art from the Harnett Print Study Center Collection

John Biggers (American, 1924-2001), Midnight Hour, 1995, color etching on paper, image 18 x 13 1/2 inches, Joel and Lila Harnett Print Study Center, University of Richmond Museums, Gift of the Estate of Barbara Forst, M1997.04.01. © Estate of the artist, photograph by Taylor Dabney

Inspired by a quote from noted writer Sergio Troncoso (American, born 1961) about his life and heritage, this exhibition presents works in the collection that address divisions, ranging from physical barriers to ideological and societal limitations. The art examines various subjects to encourage viewers to consider boundaries and transformations in their own lives and experiences, touching upon topics such as race, religion, gender, migration, age, and culture.

Organized by the University of Richmond Museums, the exhibition was curated by N. Elizabeth Schlatter, Deputy Director and Curator of Exhibitions, University Museums; with Heather Campbell, Curator of Museum Programs, University Museums; and Martha Wright, Assistant Curator of Academic and Public Engagement, University Museums. Research assistance was provided by Jacqueline Yu, senior, Maggie L. Walker Governor’s School, Richmond. The exhibition is made possible in part with funds from the Louis S. Booth Arts Fund, and it is part of the two-year themed programming, Contested Spaces: This Ground, offered by departments within the University of Richmond’s School of Arts & Sciences.

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Structure & Gesture: Abstract Prints by Jack Tworkov

Organized by the University of Richmond Museums and curated by Richard Waller, Executive Director, University Museums, the exhibition is made possible in part with funds from the Louis S. Booth Arts Fund.

Satire & Social Criticism: Prints by William Hogarth from the Collection HARNETT MUSEUM OF ART THROUGH MARCH 29, 2020 PUBLIC PROGRAM, SUN. MAR. 22 (see page 8 for details)

William Hogarth’s (English, 1697-1764) inclusion of London neighborhoods, portraits of the city’s public figures, and popular culture references in his satirical prints gave eighteenthcentury viewers the impression that the scenes were directly from everyday life. The exhibition is designed to help unravel some of the many mysteries of the artist’s satire and humor.

Organized by the University of Richmond Museum, the exhibition was curated by Richard Waller, Executive Director, University Museums, and Kate Wiley, ’20, art history major, 2019 Harnett Summer Research Fellow, and 2019-2020 Curatorial Assistant, University Museums. The exhibition is made possible in part with funds from the Louis S. Booth Arts Fund.

William Hogarth (English, 1697-1764), A Midnight Modern Conversation, 17321733, etching and engraving on laid paper, image 13 1/2 x 18 1/2 inches, Joel and Lila Harnett Print Study Center, University of Richmond Museums, Museum purchase, grant from the Ahmanson Foundation, H2003.05.01. © University Museums, photograph by Taylor Dabney

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Jack Tworkov (American, born Poland,1900-1982) came to prominence in the 1950s as a pivotal member of the New York School of Abstract Expressionism. In the 1960s, his painting moved towards a more geometric and structural format. He often echoed his themes in his prints as seen in these works from 1975 to 1982.

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HARNETT MUSEUM OF ART THROUGH JULY 5, 2020

Fritz Ascher: Expressionist HARNETT MUSEUM OF ART JANUARY 16 TO MAY 24, 2020 PUBLIC PROGRAMS, WED. JAN. 15 & THURS. JAN. 16 (see page 6 for details)

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[see website for additional programs in conjunction with the exhibition]

Fritz Ascher: Expressionist is the first retrospective of German artist Fritz Ascher (18931970), comprising seventy paintings and works on paper, ranging from early academic studies and figural compositions to the artist’s late colorful, mystical landscapes.

Fritz Ascher belongs to Germany’s “Lost Generation” – artists whose careers were interrupted or destroyed by the Nazi regime, and whose work was largely underrecognized. Born in Berlin in 1893, to assimilated Jewish parents, he showed interest in art at a young age and enjoyed early success. Ascher studied at the Königsberg Art Academy in 1909, at the age of 16. By 1913 he was back in Berlin, where he mingled with artists such as Ludwig Meidner, Emil Nolde, and Jakob Steinhardt, along with Max Beckmann, while developing his own Expressionist pictorial language.

An early highlight is the majestic 1915 painting “Golgotha,” a highly unusual crucifixion scene, in which the three crosses are barely visible at the top of the canvas, surrounded by bright sunlight. The main focus of the painting are frightened spectators fleeing towards the viewer from a spear-carrying soldier on horseback.

In 1933, Adolf Hitler assumed power. Even though Ascher was baptized as a Protestant, he was considered a Jewish painter with a liberal political stance and targeted as a dissident. He could no longer produce, exhibit, or sell his art. In November 1938, during “Kristallnacht” (Night of Broken Glass), Ascher was arrested and deported to the Sachsenhausen concentration camp, later incarcerated in Potsdam Prison, then under constant surveillance and hiding from deportation to the death camps from 1942 until the war’s end in 1945. Unable to paint or draw, he turned to writing poetry. He composed numerous poems, many of which are steeped in visions of love and divinity, evoking nature as a place of refuge and a spiritual home. Many of his artworks that he had left with friends were destroyed in Allied bombings.

After the defeat of the Nazi regime, Ascher began creating art again while remaining largely withdrawn from society. Initially, he repainted some of his existing works with colorful dots and streaks in an expressive version of pointillism. Turning away from his figurative compositions of the Weimar era, he then painted vibrant and richly textured landscapes inspired by the nearby forest of Grunewald. “Setting Sun” from circa 1960 shows the artist’s renewed urgency and immediacy, using bright colors and intense brushstrokes, dramatically simplifying forms and medium.

During his lifetime, Ascher enjoyed only one retrospective exhibition which opened at Berlin’s legendary Rudolf Springer Gallery in 1969, just a few months before his death. Very little documentation and archival materials survive. Nearly all the works in the exhibition are lent by private collectors in Germany, the United States, and Canada.

Rachel Stern, curator of the exhibition and director of the Fritz Ascher Society observes: “Ascher belongs to a large group of prolific artists who were silenced by the Nazi terror regime, unable to work, exhibit, or sell their art. This exhibition explores the situation of a German Jewish artist working in the face of political oppression.”

Organized by the Fritz Ascher Society for Persecuted, Ostracized, and Banned Art, Inc., and curated by Rachel Stern, Director of the Fritz Ascher Society, the exhibition is co-sponsored by Allianz Partners.. The exhibition and programs are made possible in part with funds from the Louis S. Booth Arts Fund. A catalogue, published by the Fritz Ascher Society, is available.

The exhibition is co-sponsored by

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E XPR ES S ION IS T AS C H ER : F R IT Z E XHI BI TIO N: NE W Fritz Ascher (German, 1893-1970), Self-Portrait (Selbstporträt), 1953, white and gray gouache over watercolor and black ink on paper, 18 x 12 3/8 inches, Private Collection, cat. no. 55. © 2019 Bianca Stock

UNIVERSITY MUSEUMS OPEN SUNDAY THROUGH FRIDAY, 1 TO 5 P.M. 15

Because of Conflict: Photographs by Peter Turnley

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HARNETT PRINT STUDY CENTER JANUARY 15 TO APRIL 24, 2020 PUBLIC PROGRAM, THU. APR. 2 (see page 9 for details)

Peter Turnley (American, born 1955), Gulf War Refugees, Jordanian Desert, 1991, archival pigment print on paper, image 13 1/16 x 19 11/16 inches, Joel and Lila Harnett Print Study Center, University of Richmond Museums, Gift of James P. Kearney, ’85, H2018.26.11. © Peter Turnley, photograph by Taylor Dabney

Award-winning photographer and photojournalist Peter Turnley (American, born 1955) is known for his images of conflict, struggle, humanity, and inhumanity witnessed around the world. He has captured pivotal moments in history, such as the 1989 overthrow of the brutal, communist leader Nicolae Ceaușescu of Romania and moments of reflection, such as an American soldier on duty in Saudi Arabia, writing home for the holidays during the Gulf War in 1990. Turnley also focuses on itinerant populations, such as refugees from Middle Eastern conflicts and migrants at the U.S./Mexico border in Laredo, Texas. This exhibition of twelve photographs is accompanied by texts written by University of Richmond faculty and students in response to the imagery and based on their own scholarship and experiences.

Organized by the University of Richmond Museums, the exhibition was curated by N. Elizabeth Schlatter, Deputy Director, University Museums. The exhibition is made possible in part with funds from the Louis S. Booth Arts Fund, and it is part of the two-year themed programming, Contested Spaces: This Ground, offered by departments within the University of Richmond’s School of Arts & Sciences.

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Museum Studies Seminar Exhibition

Annual Senior Thesis Exhibition HARNETT MUSEUM OF ART APRIL 17 TO MAY 1, 2020 PUBLIC PROGRAM, FRI. APRIL 17 (see page 9 for details)

Selected by the faculty of the Department of Art and Art History to participate in the thesis exhibition, graduating senior visual media and arts practice majors present their art The exhibition, organized by the University of Richmond Museums in collaboration with the Department of Art and Art History, was coordinated by Richard Waller, Executive Director, University Museums.

UNIVERSITY MUSEUMS OPEN SUNDAY THROUGH FRIDAY, 1 TO 5 P.M. 17

S E M IN A R S T U D IE S M US EU M

Organized by the University of Richmond Museums, the exhibition was curated by students enrolled in the 2020 Museum Studies Seminar and N. Elizabeth Schlatter, Deputy Director, University Museums, and on the faculty of the Department of Art and Art History.

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How can food be a source for creativity? How can food be a means of forming personal and collective identity as well as cross-cultural and cross-generational connections? Combining art and objects from the Museums’ permanent collection with interactive installations, this exhibition will create a place for shared connections over a subject that is as popular on Instagram as it is in family celebrations and religious histories. An assortment of artworks depicting food and gatherings, as well as cultural artifacts related to food consumption and ceremonies will be presented along with displays that feature recipes, reflections, and reminiscences about food provided by local community and campus community members and museum visitors.

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Aaron Fink (American, born 1955), Red Pepper, 1993, lift-ground aquatint and spit bite aquatint with scraping and burnishing on Rives BFK paper, image 29 x 23 1/2 inches, Joel and Lila Harnett Print Study Center, University of Richmond Museums, Center Street Studio Archives, H2016.06.11. Š Aaron Fink, photograph by Taylor Dabney

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LORA ROBINS GALLERY FEBRUARY 20 TO MAY 1, 2020

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Coin Collection Research Results in an Online Exhibition

Mike Laposata, ’20, is shown in collection storage in the Lora Robins Gallery looking at coins and discussing his research with Dr. Ronald A. Crutcher, President of the University.

Mike Laposata, ’20, has worked as the Collections Assistant, University Museums, since February 2017, working closely with Matthew Houle, Curator of Museum Collections, and David Hershey, Assistant Collections Manager. His research has centered on the coin collection, and he has catalogued more than 2,000 coins in the museum’s collection. His research has become the basis for an online exhibition. Mike describes the project and exhibition (see facing page) as follows: “This semester I have been very fortunate to craft my own exhibition focusing on two of my interests; Medieval history and coins. Through the help of University Museums, I’ve gotten the chance to examine the coinage of the eastern Mediterranean in the thirteenth and fourteenth centuries. The project really blossomed from my honors thesis that I’m working on under the direction of Dr. Joanna Drell, Professor of History, University of Richmond. My thesis examines Cyprus and its exertion of military and economic power after the fall of Acre in 1291, and looking at coinage in a similar time frame has really allowed me to gain a broader context for the region. I got lucky that the Lora Robins Gallery has a large selection of coins from this period, and I’ve had a great time learning more about the coinage of the period and examining the evolution and purpose of this monetary system.

Combining history and numismatics, the exhibition traces the political and economic developments of the thirteenth and fourteenth century eastern Mediterranean. Through a close examination of 53 unique coins, mostly in silver, from a number of the important political and economic entities in the region during the period, the exhibition utilizes monetary history to tell the story of the Mediterranean at a tumultuous point in its past. Coinage can speak on issues of political power or economy because of its role in trade, power projection, and art. Tracing the changes of this region through its coinage offers a fresh look at the eastern Mediterranean in the thirteenth and fourteenth centuries. While this collection does not claim to be all encompassing, these examples shed light on the history of the region.”

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ONLINE EXHIBITION OPENS MARCH 29, 2020

“A Pound of Whatever Silver He Pleases” History and Economy in the Late Medieval Eastern Mediterranean, Coins from the Collection Organized by the University of Richmond Museums, the exhibition was curated by Mike Laposata, ’20, history and Arabic studies double major, with assistance from Matthew Houle, Curator of Museum Collections, and David Hershey, Assistant Collections Manager, University Museums.

Ducato [obverse showing the Doge of Venice kneeling before St. Mark], Venice, from the reign of Andrea Dandolo, Doge of Venice (1343-1354), gold, 3.46 grams, 19 mm diameter, Lora Robins Gallery of Design from Nature, University of Richmond Museums, Gift of Dr. and Mrs. Chris Theodotou, R1979.11.0008. © University Museums, photograph by Taylor Dabney

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All photographs © University Museums unless otherwise noted. Printed © 2020 University of Richmond Museums, VA 23173

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Coming Fall Semester 2020 to the Harnett Museum of Art. . .

ation r i p s n I & s e i r o Mem Collection

. Betty Davis C d n a y r r e K e Th rican Art of African Ame

Charles White (American, 1918-1979), Lily C., 1973, etching on paper, i ma g e 2 3 1 /2 x 3 8 1/2 inc he s, From t he exhibition Memories & Inspiration: The Kerry and C. Betty Davis Collection of African American Art Š 2018 The Charles White Archives, photograph by Gregory Staley

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