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As a Hammer!), I Found Screenings, and Public Events, Providing Audiences an Myself Marveling Again and Again at the Seemingly Open and Lively Creative Forum

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As a Hammer!), I Found Screenings, and Public Events, Providing Audiences an Myself Marveling Again and Again at the Seemingly Open and Lively Creative Forum wexner center for the arts THE OHIO STATE UNIVERSITY In the Picture2012–2013 IN REVIEW Director’s Message Contents The Year in Pictures Exceptional Artistry Research and Education Outreach and Engagement Wexner Center Programs 2012–13 Thanks to You—Our Donors Wexner Center Staff and Volunteers A snapshot of life at the Wex: patrons and artists alike linked hundreds of photos (and memories) to our Instagram account. Director’s Equally powerful was the electrifying current between lifelong entertainer and social activist Harry Message Belafonte and the much younger Ohio State Law Professor and nationally acclaimed author Michelle Alexander. They too were brought together for the first time by the Wexner Center to offer further context around our screening of the documentary Sing Your Song, a chronicle of Belafonte’s brave and uncompromising pursuit of racial justice and equality that began in the 1950s. Their remarkable conversation highlighted On December 30, 2012, capacity crowds filled the Mr. Belafonte’s surpassing moral authority and galleries of the Wexner Center—and at several points indomitable spirit, alongside Ms. Alexander’s brilliant and during that clear but chilly day, hundreds were lined commanding intellect. Moreover, it revealed, to virtually up outside—for what would be their last chance to everyone’s surprise, the uncanny intersection in their see a landmark exhibition of Annie Leibovitz’s work. mutual (and fierce) commitment to expose and remedy Witnessing that moment was enormously gratifying the disproportionate incarceration of young African to all of us at the Wex—just one of many memorable American men in this country today. milestones that accompanied the first-ever public The ability to bring leading artists, creative presentation of the photographer’s complete Master innovators, and social change agents together is one Set of astonishing portraits, on view alongside a recent of the primary pleasures and privileges of life at an series of elegiac (though faceless) portraits of place institution devoted to contemporary culture. Sharing entitled Pilgrimage. Whether trailing the artist as she those encounters with campus and community is our generously led Ohio State students through the galleries, raison d’etre, and we derive great satisfaction from listening as she shared reminiscences with Rolling bringing the best and brightest here—to Columbus, Stone founder and publisher Jann S. Wenner amidst a Ohio—where a growing appetite for social, cultural, and jam-packed Mershon Auditorium, or witnessing the educational advancement is everywhere evident. genuine humility with which she accepted the Wexner In that spirit and true to our mission, in 2012–13 the Prize (noting that the one memento she had kept from Wex assembled a bold array of exhibitions, performances, her late father’s vast toolshed was a hammer!), I found screenings, and public events, providing audiences an myself marveling again and again at the seemingly open and lively creative forum. Following the Leibovitz insatiable appetite with which audiences from near and exhibition in the fall, Columbus counted down the far had devoured this exhibition, making the Wex a true minutes until the Midwest debut of Christian Marclay’s destination point throughout its run. international sensation The Clock. On view from late Annie’s singular images of the major figures and January through early April, the exhibition included forces that have shaped our common history over several overnight screenings of the complete 24-hour four decades in turn conjured countless individual and video-based work. We were thrilled to welcome idiosyncratic memories for virtually every visitor to Marclay back to Columbus, where he had created a new our galleries. Those profound moments of discovery, commissioned work for the Wexner Center’s inaugural realization, and connection summon the kind of “aha” year (1989–90), coincidentally also entitled the The Clock! experience that we at the Wex aspire to offer our In adjacent galleries former Wexner Center visitors—the startling creative and intellectual spark residency artist Josiah McElheny continued his that fuels curiosity and, hopefully, spawns further exploration of modernist utopias with the exhibition engagement. Though it may take months, even years, Towards a Light Club. Organized by Wex Curator at for example, to orchestrate a public conversation Large Bill Horrigan, the exhibition featured McElheny’s between Sergio Marchionne, Chairman and CEO of film The Light Club of Vizcaya: A Women’s Picture, newly Chrysler Group and CEO of Fiat, and John C Jay, global postproduced in our Film/Video Studio, as well as the creative director for the ad agency Wieden+Kennedy, artist’s exquisite glass sculptures and meticulously the authentic, unscripted exchange that ensues when conceived and crafted projection screens—all of which such creative masterminds meet for the first time is illuminated his ongoing fascination with early 20th- inspiring—and always worthwhile. century design as it reflected and refracted modernism’s Wexner Center Director Sherri Geldin (right) stands with acclaimed photographer Annie Leibovitz and Rolling Stone magazine founder Jann S. Wenner during a momentous evening that saw the Wexner Prize presentation to Leibovitz, a public discussion between the lifelong friends and legendary creative partners, and the center’s 23rd Anniversary Party. inclination toward abstraction. Taking advantage of their welcomed up-and-coming indie-rock acts Julia Holter simultaneous exhibitions, this year’s Lambert Family and Jukebox the Ghost, as well as such stadium-stars as Lecture paired McElheny and Marclay, who conducted My Morning Jacket and The National (the latter shows a lively conversation about their dizzying array of benefitting Wex programs and CD 102.5 for the Kids). influences, finding intriguing parallels and intersections Cinephiles were treated to celebrations of film between their two practices. To further complement history, including the remarkable and rarely seen the McElheny exhibition, the center produced a striking A Tribute to the Nicholas Brothers and a 14-film series catalogue to accompany the show with essays by devoted to Marilyn Monroe: The Actress. Visiting Horrigan, Ohio State colleagues Lisa Florman and filmmakers included The Quay Brothers (whose visit Kris Paulsen (both History of Art), Richard Fletcher here led to an upcoming residency project), William E. (Department of Classics), and Amanda Gluibizzi (Fine Jones (who produced a box-set DVD of his 1991 classic Arts Library). Massillon with Wex assistance), and Natalia Almada Throughout the season, theatergoers in search of (announced as a MacArthur Fellow days after her utterly unique experiences found them at the Wex: from visit)—all introducing and talking about their work. The National Theatre of Scotland’s rollicking The Strange Wex also offered dazzling Columbus debuts of such films Undoing of Prudencia Hart, presented in a pub-like setting as Beasts of the Southern Wild. And our newly upgraded complete with bar service, to Palissimo’s enigmatic projection booth, now boasting a high-resolution 4K and epic The Painted Bird Trilogy, a Wexner Center Artist digital projector in addition to our 16, 35, and 70mm film Residency Award project integrating dance, video, projectors, allowed for absolutely gorgeous screenings of and literary components. Music fans sampled globally the newly restored Lawrence of Arabia by David Lean in 4K influenced jazz by the Christian Howes Quartet with and Paul Thomas Anderson’s The Master in 70mm—the Richard Galliano and by Rudresh Mahanthappa, and only such presentations of those films in the region. Also unique to the area was our presentation of the university—all thanks to a generous grant from Sam Green’s The Love Song of R. Buckminster Fuller, a the Andrew Mellon Foundation. “live documentary” that set Green’s narration and a In 2012–13, as always, the Wex orchestrated a performance by legendary alt-rock band Yo La Tengo to plethora of diverse programs and events designed images of Fuller’s notes, letters, blueprints, photographs, to engage audiences of all ages, ethnicities, cultural films, and ephemera, which unfolded onscreen. backgrounds, religious beliefs, and socioeconomic Visitors to our galleries in spring encountered strata. Conceived to fill a recognized community Shimon Attie’s immersive, multichannel video installation need, ongoing programs such as PAGES, with its MetroPAL.IS as well as the multilayered paintings, literacy focus, or Art & Environment, which draws drawings, and films of Paul Sietsema, whose most compelling connections between creative production comprehensive exhibition to date was organized by the and ecological sustainability, continue to provide Wex. Both exhibitions featured works created under the valuable, even life-changing experiences to area teens. auspices of the Wexner Center Artist Residency program. So too, the new community partnership called Surge Similarly, an interconnecting set of creative projects Columbus, a consortium including the Wexner Center, unfurled this season around residency award recipient COSI, the Columbus Museum of Art, WOSU, and the and Ohio State dance professor Bebe Miller, and it was Columbus Metropolitan Library, aims to create greater fantastic to watch the sustained work fueled by our engagement and opportunity for local high-school support come to such impressive fruition. In September, students. In a lighter vein are those education
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