Untitled Painting by Stanley Biernacki '41
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THE CLEVELAND INSTITUTE OF ART MAGAZINE VOL. 21, NO. 4 FALL, 1988 IN THIS ISSUE Introducing Roger DesRosiers 3 Bidding Farewell to Joe McCullough 6 Around The Institute: Class of '38 Reunites 10 Schreckengost/Bates Winners 10 FHonor Roll of Donors, 1987-88 Insert Faculty & Staff Notes 12 Alumni Notes 13 Obituaries 18 PHOTO CREDITS Cover photo, and photo on left inside front cover, and photo on page 19, are by Robert Muller. Photos on pages 4, 5, 6, 7 (bottom), 8, 9, 10, 11, and back cover are by Paul Nickels. Other photos were provided by the artists, and photo on page 3 is by Herb Weitman, Washington University. LINK is published four times a year by the Cleveland Institute of Art, 11141 East Boulevard, University Circle, Cleveland, Ohio 44106. Paul J. Nickels, Editor Georgianne Wanous, Director of Alumni Relations Cheryl Overby '85, Layout Artist Typesetting and production, Schaefer Printing Co. ©Copyright 1988, The Cleveland Institute of Art Articles, letters, and captioned black and white photographs are welcomed for inclusion in LINK. As much unsolicited material will be published as space and the editor's discretion allow. Deadline for the next issue is November 11, 1988. Send material to LINK, Cleveland Institute of Art, 11141 East Boulevard, University Circle, Cleveland, Ohio 44106. The Institute admits students without reference to race, color, creed, handicaps, sex, or national origin. ABOUT THE COVER A Note to LINK Readers: The Alumni Office at the Cleveland Institute of Art is in the process of converting the Insti• tute's mailing list to a computer-label format. Please send any changes or corrections to the attention of Georgianne Wanous at the Insti• tute. This includes anyone who receives two copies of Institute mailings. Thank you for your patience! This image was shot by Robert Muller at the August alumni party for Joe McCullough, and printed for LINK by Paul Nickels. THE CLEVELAND INSTITUTE OF ART LIBRARY Roger DesRosiers (deeROHzhur) became the seventh president of the Cleveland Institute of Art on September 1, 1988. CIA Enters the DesRosiers Era by Paul Nickels Roger DesRosiers, a painter, print- was the unanimous choice of a Search maker, and art educator who most re• Committee that included trustees, cently served as dean of the School of alumni, and faculty. Fine Arts at Washington University in St. In announcing the choice of DesRo• Louis, is the seventh president of the siers, Institute Board Chairman Harvey Cleveland Institute of Art. His selection, C. Oppmann noted that "the Search announced by the Institute late in July, Committee performed admirably in ad• capped a national search that produced dressing a very demanding task. I am over 50 applicants, from which a dozen very pleased with the choice we have were culled and brought to the Institute made, and am certain that Mr. DesRo• for extensive interviews. DesRosiers siers will capably usher the Institute into a new era." 3 Bidding a Fond Farewell to Joseph McCullough by Paul Nickels Joe McCullough is now retired, but if the outpouring of emotion, nostalgia, and good will exhibited at the several "goodbye" events held in his honor over the past few months is any indica• tion, he won't soon be forgotten. McCullough, who took a sabbatical of some 36 years from his career as a painter to manage the affairs of the Cleveland Institute of Art, is now back in the studio, but before he left, he was honored and feted by, on separate occa• sions, faculty, staff, alumni, trustees, ad• visory board members, and friends of the school he had guided so success• fully. Capping the honors was a presenta• tion made by Board Chairman Harvey G. Oppmann at his home during the course of retirement party number one, held at Oppmann's house on June 10 and attended by various faculty, staff, trustees, and friends. Midway through the party, Oppmann assembled those on hand under a tent in his yard and an• nounced that from that day forward, by action of the Board of Trustees, the Insti• tute's Factory building would have a name—the Joseph McCullough Center for the Visual Arts. It was a fitting tribute to a man whose vision for the future of the school caused the Factory—The McCullough Center, rather—to become reality. The announcement brought gasps of pleasure and surprise from the assem• blage, and after a few moments of shock, a humble approval from Joseph McCullough. Following the Oppmann party, on July 6, a private birthday party was held for McCullough at the Institute that in• cluded all staff members. He was pre• sented with a Mondrian-styled cake and a photo of the entire staff gathered on the steps of the sculpture garden at the East Boulevard building. A final event—an alumni party to which all graduates of the school were invited—was held on August 18 and drew alumni from as far away as Florida Autographing copies of the Institute's centennial history at the Alumni farewell party. and North Carolina. More than 200 were on hand and the evening ended with a ever-present sense of humor. At a bash speech delivered by Harvey Oppmann release of balloons into the fading eve• held at American Greetings that in• at the June 10 party: ning light. cluded the firm's chairman, Irving I. McCullough, visibly moved on occa• Stone, and some of the forty-plus AG REMARKS OF sion by the heartfelt sentiments ex• employees who are Institute graduates, HARVEY G. OPPMANN pressed by members of all the Insti• he quipped that he was ready to "move Upon the Retirement of tute's constituencies, handled the from Who's Who to 'who's he?'" JOSEPH MCCULLOUGH affairs with dignity and aplomb, and his Following are excerpts from the June, 1988 6 Let me begin by stating the obvious: Joe McCullough can retire but he can't leave. This quiet-spoken gentleman is as much a part of us as the Institute's name. Think about it: In the 106 years of the Cleveland Institute of Art, no Direc• tor has served as long as Joe has—33 years. Joe McCullough broke ground for the East Boulevard building when we moved from our old Juniper Road build• ing. And he broke ground over a quar• ter century later when we rebuilt the stunning Eactory. Joe McCullough's name is on more Cleveland Institute of Art diplomas than that of all of our other directors com• bined. It is the Cleveland Institute of Art of Joe McCullough—his reasoned, good natured determination, his vision of the vital place of the arts in culture and in• dustry—that thousands of graduates carry throughout their careers and throughout the world. Above, cutting birthday cake at a staff party; below, with wife Elizabeth and friends at the It is Joe McCullough who gained Oppmann party. Cleveland Institute of Art accreditation, by expanding our curriculum to in• clude more academic study. Itwasjoe McCullough who more than doubled the student body, from 235 stu• dents a year to over 500. It was Joe McCullough who launched our international programs first in Ea- coste in the south of Erance in 1980, and later programs in Elorence, Barcelona, and Osaka, Japan. Itwas under Joe McCullough's leader• ship that endowment funds increased from $1.2 million to over $12 million. And he launched the Institute's suc• cessful—and unprecedented—$8 mil• lion campaign during our centennial in 1982. But there is another way which Joe is so much of the soul of this institute. Since its founding in 1882, this art school has played an unusual role in this industrial city. Before there was an Art Museum, there was only the Art School—as the Institute of Art was then known—to sustain and nurture the fine arts. It is not far wrong to say that this school taught a hustling, burly city, which relished its industrial prowess, about the joys of the arts. At the least, the founders and first leaders of what was originally called the Western Reserve School of Design for Women provided a sanctuary where the arts could thrive. This school reflects Cleveland. Its fine arts curriculum mirrors the city's enthu• siasm and love for each of the fine arts- painting, sculpture, metal working, ceramics, jewelry and glass blowing. As important, the Institute of Art's program in applied arts and industrial design is the complement to Cleve• land's business and industry. 7 By training craftsmen in wood, metal, clay, plaster, glass and fiber, the Institute of Art has been a partner with Cleve• land, providing the talented men and women who have nurtured its business and industry. And, as much as the Institute of Art mirrors Cleveland, Joe McCullough em• bodies this same pairing of the artistic and the applied. He is a painter of national stature. His works are in the collections of the Cleveland Museum of Art, the Dayton Art Institute and Syracuse University, among other public and private collec• tions. His paintings have been exhibited across the country—from New York, to Delaware to Pennsylvania, Ohio and In• diana to Kansas and California. He has been honored and feted and applauded ever since he graduated from the Cleveland Institute of Art in 1948. For most of those years, we too basked in the reflected glow of his stature. And, as an educator and administra• tor, he has strengthened this school in its mission immeasurably—from the broadened course curriculum, to its core academic subjects to the doubling in space we now have at the Factory.