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ANN UAL RE PORT 2002 THE CLE VELAND MUSEUM OF ART

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T H E C L E V E LA N D M U S E U M O F A R T

AN N UAL R E PO R T 2002

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The Cleveland Museum of Art 11150 East Boulevard Cleveland, Ohio 44106–1797
Narrative: Gregory M. Donley
Photography credits: Works of art in the collection were photographed by museum photographers Howard Agriesti and Gary Kirchenbauer and are copyright by the Cleveland Museum of Art. The works of art themselves may also be protected by copyright in the United States of America or abroad and may not be reproduced in any form or medium
Brichford: pp. 7 (left, both), 9 (top), 11 (bottom), 34 (left), 39 (top), 61, 63, 64, 68, 79, 88 (left), 92;

Feathered Panel. Peru,

Far South Coast, Pampa Ocoña; AD 600–900; Papagayo macaw feathers knotted onto string and stitched to cotton plainweave cloth, camelid fiber plain-weave upper tape; 81.3 x 223.5 cm; Andrew R. and Martha Holden Jennings Fund 2002.93

Editing: Barbara J. Bradley and Kathleen Mills
Rodney L. Brown: p.

82 (left) © 2002; Philip Brutz: pp. 9 (left), 88 (top), 89 (all), 96; Gregory M. Donley: front cover, pp. 4, 6 (both), 7 (bottom), 8 (bottom), 13 (both), 31, 32, 34 (bottom), 36 (bottom), 41, 45 (top), 60, 62, 71, 77, 83 (left), 85 (right, center), 91; Alicia Hudson Garr: p. 85 (right, top);
Copyright © 2003 The Cleveland Museum of Art
Design: Thomas H. Barnard III

Production: Charles Szabla
All rights reserved. No portion of this publication may be reproduced in any form whatsoever without the prior written permission of the Cleveland Museum of Art.
Printing: Great Lakes Lithograph

The type is Adobe Palatino and Bitstream Futura adapted for this publication. Composed with Adobe PC PageMaker 6.5.

Front cover and frontispiece: As the sun went down, the lights came up: on September 11, the facade was illuminated with colored lights to remember the

The Annual Report

was produced by the Publications Department of the Cleveland Museum of Art. without the permission of the copyright holders. The following photographers are acknowledged:
Diane Hansson: pp. 12, 78, back cover; Robert Mueller: p. 87; Randall Von Ryan: p. 45 (bottom); Deirdre Vodanoff: p. 84 (both); Kelly Williams: p. 82 (bottom); Shamar

terrorist attacks in 2001. Back cover: Early Learning Initiative program preschool children on their way to classrooms to create a work of art inspired by American masterpieces

Howard Agriesti: frontispiece, pp. 8 (left), 10, 11 (left), 29, 36 (right), 38, 42, 44,

  • 73 (both), 80; David
  • Young: p. 83 (top).

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4 Board of Trustees 5 Trustee Committees 6 Director
10 Chairman 11 President 15 Collections 33 Exhibitions 43 Community Support 78 Education, Public Programs, and
Outreach

93 Staff 97 Financial Report 98 Treasurer

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BOARD OF TRUSTEES

Officers

James T. Bartlett, President

Trustees

James T. Bartlett

  • Life Trustees
  • Honorary Trustees

  • Muriel S. Butkin
  • Quentin Alexander

Mrs. Quentin Alexander Leigh Carter
Charles P. Bolton Ruth Swetland Eppig Robert W. Gillespie George Gund III Michael J. Horvitz George M. Humphrey II Anne Hollis Ireland Adrienne L. Jones Robert M. Kaye
Ellen Wade Chinn Jeannette Dempsey Joseph M. Erdelac Maxeen Flower
Michael J. Horvitz, Chairman
James H. Dempsey Jr.

Mrs. Edward A. Kilroy Jr. Morton L. Mandel George Oliva Jr.
Ellen Stirn Mavec, Vice President
Frances Gale
William R. Robertson,

  • Vice President
  • Robert D. Gries

Katharine Lee Reid, Director, CEO, and Secretary
Mrs. Alfred M. Rankin Edwin M. Roth
Mrs. John Hildt Hayward Kendall Kelley Jr.

  • Sherman E. Lee
  • Frances P. Taft

Janet G. Ashe, Treasurer
Nancy F. Keithley

Peter B. Lewis
Dr. Paul J. Vignos Jr. Alton W. Whitehouse Dr. Norman W. Zaworski
Eleanor Bonnie McCoy Mary Schiller Myers

  • Elizabeth Norweb
  • Jon A. Lindseth

+

William P. Madar Ellen Stirn Mavec S. Sterling McMillan III Stephen E. Meyer Rev. Dr. Otis Moss Jr. Alfred M. Rankin Jr. James A. Ratner
Larry J. B. Robinson Viktor Schreckengost Evan H. Turner

Donna S. Reid William R. Robertson Elliott L. Schlang Michael Sherwin Eugene R. Stevens Richard T. Watson

Ex Officio

Daniel F. Austin Betsey Bell Helen Cherry Katharine Lee Reid

Visitors are enthralled by an exhibition of photographs given to the museum over the past 10 years.

+ deceased

4

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TRUSTEE COMMITTEES

Accessions

Elliott L. Schlang, Chair

Advancement

Donna S. Reid, Chair

  • Building
  • Education

Adrienne L. Jones, Chair

Finance

William P. Madar, Chair

Legislative Affairs

Jon A. Lindseth, Chair

Oversight

Michael J. Horvitz, Chair

  • Quentin Alexander
  • Robert W. Gillespie

George Gund III Robert M. Kaye

  • Virginia Barbato
  • James Karman

Robert M. Kaye Nancy F. Keithley Jeffrey D. Kelly Jon Outcalt
James T. Bartlett Alfred M. Rankin Jr. Donna S. Reid
Charles P. Bolton
Mrs. Quentin

Alexander
Jeannette Grasselli

  • Brown
  • George M.

Humphrey II
Katherine Bolton

Muriel S. Butkin
Leigh Carter
Jon A. Lindseth
William P. Madar

Ellen Stirn Mavec Rev. Dr. Otis Moss Jr. Donna S. Reid

  • Elliott L. Schlang
  • Sr. Maureen Doyle

Ruth Swetland Eppig Debra Guren
Rev. Dr. Otis Moss Jr. Elliott L. Schlang
Jean and Walter Caldwell
Katharine Lee Reid,

ex officio

Donna S. Reid
James T. Bartlett,

ex officio

William R. Robertson
Mrs. John Hildt
Mrs. Bert Laurelle G.

Holt

Capital Campaign Planning

Ellen Stirn Mavec, Chair
James T. Bartlett,

ex officio

  • Helen Forbes Fields
  • Elliott L. Schlang

Michael J. Horvitz,

ex officio

Marguerite B. Humphrey
George M. Humphrey II
Katharine Lee Reid,

ex officio

Michael J. Horvitz,

ex officio

Katharine Lee Reid,

ex officio

  • Robert H. Jackson
  • Susan W. MacDonald

James L. Mason
Katharine Lee Reid,

ex officio

Trustees

William R. Robertson, Chair
Mrs. Edward A. Kilroy Jr.
James T. Bartlett

African American Advisory

Adrienne L. Jones, Chair
Robert W. Gillespie Michael J. Horvitz Anne Hollis Ireland William P. Madar Alfred M. Rankin Jr. Donna S. Reid
Rev. Dr. Otis Moss Jr. Michael Sherwin Frances P. Taft

Information Technology

Bruce V. Mavec, Chair
Mary S. Myers Sharon Patton
Robert W. Gillespie Adrienne L. Jones Jon A. Lindseth
Mrs. Alfred M. Rankin
Susan H. Turban Dr. Paul J. Vignos Jr. Susan H. Wertheim
Montrie Rucker Adams
Jeffrey E. Christian
Ellen Stirn Mavec

Michael Sherwin Richard T. Watson
Edwin M. Roth Mark Schwartz Eugene R. Stevens Frances P. Taft
Dr. Delos M. Cosgrove III
June S. Antoine Emma Benning Al Bright
Katharine Lee Reid,

ex officio

James T. Bartlett,

ex officio

Jennie S. Hwang Trevor Jones
James T. Bartlett,

ex officio

Michael J. Horvitz,

ex officio

Collections

Elliott L. Schlang, Chair

  • Dr. Paul J. Vignos
  • Margot James

Copeland
Joseph P. Keithley Andrew Rayburn
Michael J. Horvitz,

ex officio

Dr. Norman W. Zaworski
Katharine Lee Reid,

ex officio

James Crosby
James T. Bartlett,

ex officio

Katharine Lee Reid,

ex officio

Charles P. Bolton George Gund III Robert M. Kaye Nancy F. Keithley Jon A. Lindseth Ellen Stirn Mavec Alfred M. Rankin Jr. Donna S. Reid
James T. Bartlett,

ex officio

Helen Forbes Fields Giesele Greene, M.D.

Executive

James T. Bartlett, Chair
Michael J. Horvitz,

ex officio

Michael J. Horvitz,

ex officio

Mrs. Bert Laurelle G. Holt
Katharine Lee Reid,

ex officio

Anne Hollis Ireland Jon A. Lindseth
Katharine Lee Reid,

ex officio

Bracy Lewis Franklin Martin
William P. Madar

Ellen Stirn Mavec Alfred M. Rankin Jr. Donna S. Reid

Investment

Alfred M. Rankin Jr., Chair
Reverend Marvin McMickle

A. Grace Lee Mims Steven A. Minter Rev. Dr. Otis Moss Jr. Sharon Patton
Eugene R. Stevens
Anne Hollis Ireland

James T. Bartlett,

ex officio

Mrs. Edward A. Kilroy Jr.
William R. Robertson Michael J. Horvitz,

ex officio

Michael J. Horvitz,

ex officio

S. Sterling McMillan

  • III
  • Greg Reese

Katharine Lee Reid,

ex officio

Katharine Lee Reid,

ex officio

Lawrence Simpson Andrew Venable
James A. Ratner Robert S. Reitman William R. Robertson Elliott L. Schlang Richard T. Watson

Compensation

James T. Bartlett, Chair Michael J. Horvitz William P. Madar William R. Robertson
James T. Bartlett,

ex officio

Michael J. Horvitz,

ex officio

Katharine Lee Reid,

ex officio

5

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DIRECTOR

The museum’s original marble building emerged from scaffolding in 2002, cleaned to a gorgeous soft white. At night the building glows. This first stage of the effort to renew and add to our facilities also included relandscaping the terraces and walkways around the museum and, in collaboration with the Fine Arts Garden Commission, restoring the fountain, walkways, and stairs of the city-owned lagoon and gardens—a complex long known as Wade Park that was designed by the firm of the great l9thcentury landscape architect Frederick Law Olmsted. An evening ceremony in late May inaugurating the new exterior lighting scheme reminded us of the elegance of our most remarkable setting and how the generosity of our founders and today’s donors has contributed to the high standards of this region’s great cultural treasures.

“It’s exhilarating—and also humbling—to be making the transition from this long period during which we gathered so much information and opinion from so many in our community, into this new phase of actually getting ready to break ground and start

The restoration of the 1916 building and Fine Arts Garden is only one element in our vision for the future. The priorities identified in the strategic plan of 1996—to clarify the gallery structure, to expand and improve spaces for the display, storage, and conservation of works of art, and to enhance public circulation areas both inside and outside the museum—were used to create a facilities master plan in 1999, which identified the approximate

building.” –Katharine Lee Reid

Director Katharine Lee Reid and museum curators review expansion plan design proposals.

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amount of new space needed to meet our objectives and suggested efficient spatial adjacencies.
In 2001, we took the next step with the appointment of Rafael Viñoly as the architect of a museum expansion project. He won the job because he was able to reconcile two motivations—to preserve and restore cherished architecture while questioning and redefining essential functional arrangements—in a coherent vision for the future with a renewed museum complex.
In 2002, the architect’s vision gained form and nuance as he and the museum worked together to gather opinions from many important communities: the public, art educators and students, University Circle neighbors, civic leaders, architects and planners, and museum members, staff, and trustees. A pivotal event in that process was the fourth in a yearlong series of free public forums, organized by Cleveland Public Art, in which Rafael Viñoly shared his concepts with about 1,000 attendees. That effort has paid off in significant and tangible ways.

The City of Cleveland’s Spirit Weekend drew diverse crowds to cultural institutions all over town.

The plan clarifies the gallery structure while allowing visitors more freedom to define how they choose to experience the various parts of the

Docent Gail Calfee leads a highlights tour.

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collection. A number of new “interpretation galleries” allow the presentation of special topics in a concise, in-depth manner. The gallery settings for all are improved and better connected. A grand new courtyard provides a much-needed central point of orientation as well as dramatic and gracious convening space.
Outside the museum, the effect of the expansion on the surrounding neighborhood will be dramatic. The design treats the southern facade as a focal point, celebrating the iconic position that the view across the Fine Arts Lagoon has come to enjoy over the years. The museum will open itself to the west, facing the city of Cleveland with banks of windows looking out from the galleries and restaurant above the wooded hillside. The 1971 Marcel Breuer building, also preserved in the expansion plan, is alluded to by striped motifs in the materials of the new construction.

In September, the museum welcomed Dr. Charles L. Venable as deputy director for collections and programs. In his distinguished career at the Dallas Museum of Art, he was deputy director and chief curator as well as interim director.

The new construction makes ample use of glass, giving the structure a quality museum architecture has often lacked: openness. Visitors inside the museum will be able to see out, and passersby outside will be able to see in. This transcendence of barriers between “inside” and “outside” is symbolic of the strengthening bond between the museum and its community. The museum is not only a major civic asset to its neighborhood and to northern Ohio, it is also part of a broader arts and cultural community that brings more than a billion dollars into the regional economy each year and adds in

Henry H. Hawley, the man most responsible for building the museum’s remarkable collection of decorative arts and sculpture, retired in December after 42 years of stellar service.

8

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A Community Arts character struts its stuff at the 2002 Chalk Festival in September.

immeasurable ways to the quality of life in Cleveland. Regardless of economic status, race, national orgin, or age, the museum adds value to the lives of all. The museum has for decades played a leadership role in the community. In our new vision, the museum aspires to an even higher level, where the goal is not only to improve an already great museum, but to play a key role in forging a great future for this city.
This annual report documents the museum’s activity in a year during which we faced significant challenges even as we welcomed extraordinary opportunities. As always, the museum staff and its supporters responded with inspired efforts that have made it possible for us to keep our eye on the bright and colorful future before us. I invite all to join us as we work to make our vision for Cleveland—the museum and the place—the vibrant reality it deserves to be.

Cleveland Mayor Jane L. Campbell (right) joined James T. Bartlett, Laurie D’Angelo, and Susan Stevens Jaros (left to right) in the directors ensemble for Parade the Circle Celebration 2002.

Katharine Lee Reid Director

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The initial phase of the museum’s renovation and expansion project was the three-year restoration of the 1916 building and the surrounding terraces. The first time the sun shone on the newly cleaned facade, the effect was dazzling. As the work progressed and the terraces were rebuilt with new marble stonework (over a comprehensive underground drainage system), that effect grew even more dramatic. Finally, the construction fence came down and everyone could once again enjoy this lovely space—now fully accessible to the disabled.

CHAIRMAN

The many sculptures that had spent much of the past three years being cleaned and restored in the conservation labs were reinstalled in improved outdoor settings. The addition of a number of marble benches encourages those strolling through to pause for a bit and enjoy the idyllic environment. During the summer and fall, the final elements of a beautifully conceived landscaping plan were put in place, and the restoration was complete. The wonderful results of this undertaking have been extremely gratifying to everyone involved.
We now move on to the next phase: preparing to build. While the grand vision of Rafael Viñoly’s design is inspiring to us all, I wish to point out that not only the big things create success at this museum. The year 2002 was remarkable for the cumulative effect of many smaller things done by museum supporters and staff members.
Even in difficult economic circumstances in our region and in the world, the museum finished the year with its budget slightly in the black. This was possible thanks to the conscientious effort of the entire staff to find ways to do more with less, and to the continued generosity of our supporters, who despite the financial uncertainty found ways to help guarantee the museum’s continued strength. I believe this kind of collective commitment to the museum and its community will fuel our success tomorrow. Our deepest thanks go to all who have contributed in ways great and small to the life of this museum over the years. The legacy of this commitment will truly be a treasure for future generations to enjoy.

Michael J. Horvitz Chairman

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Katharine and Michael in their remarks provide an overview of 2002 and comment on the exciting plans unfolding for the transformation of our physical space. I can add little to their observations other than to re-emphasize the quality and depth of the support we have received from so many quarters. Our trustees have unanimously endorsed each step of our building project from—the selection of Rafael Viñoly right through the conceptual design phase, our current status. Katharine Reid and her excellent staff have provided vital insights and suggestions about such important matters as the positioning and sequencing of gallery space, the nature and location of visitor amenities, and so much more, all the while maintaining tight controls over operations. Rafael and his team have been resourceful and responsive to our needs, working tirelessly with our staff to get the details right, details that ultimately must be worked through correctly in order to translate a grand concept into physical reality. And last but not least, the community has responded wonderfully to our invitation to include everyone in an open process of designing Cleveland’s new museum.

PRESIDENT

This outpouring of support and solid professional input is critically important, as is the continuing support of our treasured donors and friends of the museum. We are embarked on nothing less than a complete transformation of one of the world’s great art museums and one of Cleveland’s most important civic and cultural assets. Without a broad base of support, it would be an extremely difficult if not impossible task.
We are deeply committed to the success of this enterprise, for we believe the future Cleveland Museum of Art that Katharine describes so eloquently will have a lasting positive—if not electrifying—impact on the city’s future. This is a project that must succeed in order to signal that

Elizabeth Catlett: Prints and Sculpture

proved to be a broadly engaging exhibition.

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Kate Hoffmeyer elicits questions from preschool students enrolled in our Early Learning Initiative program. During this yearlong session, children visit the museum’s galleries to view paintings and then create their own works of art.

Cleveland’s immense cultural heritage is being preserved, presented, and honored to the highest standards. Properly executed, we believe our plan for a new museum offers the prospect of leading this community into a new era of cultural expression and fulfillment that will have a profound effect on how this city is viewed by the world.
Much hard work lies ahead. So far, we have generated excitement and support that is heartening and thrilling. As we go forward, we will be asking for still more support and commitment to ensure we have the resources to realize our goal. We are confident it will be there.

James T. Bartlett President

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    Finding aid for the Cleveland Press Photograph Collection Repository: Cleveland State University Title: Cleveland Press Photograph Collection Inclusive Date(s): 1920-1982 Author: Finding aid prepared by Lynn Duchez Bycko Creation: Finding aid encoded by Kiffany Francis using the OhioLINK EAD Application in 2009 Descriptive Rules: Finding aid prepared using Finding aid prepared using Describing Archives: A Content Standard. Origination: Cole, Joseph E. Extent: 882 linear feet Physical Location: Abstract: After the Cleveland Press newspaper ceased publication on June 17, 1982. Joseph E. Cole, its publisher, donated the "morgue" to Cleveland State University. Representing the archived editorial library, sometimes referred to as a "newspaper morgue," topics focus on the news coverage of northeastern Ohio, with national and international news stories holding a secondary level of importance.The Cleveland Press photograph collection is composed of an archive of over one million photographs. Unit ID: PH2000.000PRE Language(s) of the Materials: English History of The Cleveland Press The Cleveland Press, founded by Edward W. Scripps, began as the Penny Press on 2 Nov. 1878. A small, 4-page afternoon daily, the paper continued to prosper. Shortened to the Press in 1884, and finally the Cleveland Press in 1889, by 1903 the Press was Cleveland's leading daily newspaper. As it entered the 1920s, the Press neared 200,000 in circulation. Louis B. Seltzer became the 12th editor of the Press in 1928, and under his 38-year stewardship the Press became one of the country's most influential newspapers. Seltzer readjusted its original working-class bias into a less controversial neighborhood orientation, stressing personal contacts and promoting the slogan "The Newspaper That Serves Its Readers." In the postwar period the Press continued its public service campaigns and remained an unrivaled force in Ohio politics.
  • Innovation and Color: the Reinterpretation of the Woodcut

    Innovation and Color: the Reinterpretation of the Woodcut

    Spyglass A LOOK AT THE CAHOON MUSEUM OF AMERICAN ART • FALL 2013 CURRENT EXHIBITIONS INSIDE Innovation and Color: The Reinterpretation of the Woodcut Marieluise Hutchinson, The Red Barn, oil on masonite, will be on veiw in the Small Works fundraiser exhibition from November 19 - December 22. 2 Upcoming Exhibits The Little Gallery 3 Annual Appeal Cahoon Society Purchase Ruth Dewitt Hogan, Homage to the Cahoon Museum, 2013, white-line wood block print 4 In recent years, especially on the Cape, Wendy Willard. From the President the technique of the white-line woodcut Ruth Dewitt Hogan’s “Homage to the has been rediscovered by many talented Matching Challenge Cahoon,” 2013, was specifi cally created artists. This exhibition presents important Grant for this exhibition and appears on the works by early innovators of white-line Exhibits Cont. postcard and other printed publicity for woodcuts on the Cape and illustrates how the exhibit. To emphasize innovation and current artists are learning from those 5 color, Ruth took four earlier artists and innovators and taking the form to new From the Director deliberately incorporated examples of their levels. style into her work. These artists are Arthur 6 Among the artists included in the Wesley Dow, Blanche Lazell, Seong Moy, Greeting Card Workshop exhibit are: Sally Brophy, Jean Carbonell, and B. J. O. Nordfeldt. Ada Gilmore Chaffee (1882-1955), Sailor’s Valentine Arthur Wesley Dow’s style appears on Oliver Chaffee (1881-1944), William Workshop the right, above the word “Woodcuts.” He Evaul, Ruth Dewitt Hogan, Lorraine was the central fi gure in American color Kujawa, Blanche Lazell (1878-1956), 7 woodcuts at the turn of the 19th to the Jane Lincoln, Jerre Moriarty, Angele Membership 20th century.
  • Press Release

    Press Release

    BERTA WALKER GALLERIES Provincetown & Wellfleet You are invited OPENING in Wellfleet Saturday, June 17, 4 - 6 PM continuing through July 15, 2017 WELLFLEET ARTISTS of the Berta Walker Galleries Currently living and working in Wellfleet Robert Henry Grace Hopkins Sidney Hurwitz Penelope Jencks Gloria Nardin Pe ter Watts Wellfleet artists years past Elizabeth Blair (1908-1995) Edwin Dickinson (1891-1978) Gilbert Franklin (1919- 2004) Budd Hopkins (1931-2011) James Lechay (1907-2001) John C. Phillips (1908- 2003) Selina Trieff (1934-2015) (AND) Opening the following week in Provincetown FRIDAY, June 30 JOSEPH DIGGS "Life's Layers" Abstract and Figurative Paintings The Many Languages of Landscape VARUJAN BOGHOSIAN, BRENDA HOROWITZ, SKY POWER, MURRAY ZIMILES WELLFLEET ARTISTS of the Berta Walker Galleries JUNE 17 - JULY 15 Reception Saturday, June 17, 4 - 6 PM 40 Main Street, Wellfleet, MA In this exhibition, we hope you'll enjoy discovering and celebrating the work of artists from Wellfleet's past as well as those who continue to live and work here. These artists had, or continue to have, studios in Wellfleet and the exhibition includes work from as early as 1924 through to today. These artists are now part of the Berta Walker Galleries' ongoing effort to celebrate the history of American art through the lens of the Outer Cape's historic art colony, founded in 1899, and which encompasses the towns of Provincetown, Truro and Wellfleet. We are delighted to now have a presence in Wellfleet, thanks to the help of The Wicked Oyster Restaurant who made their building available, affording us the opportunity to expand on presenting the art colony's major and important American art contributions.
  • A Stellar Century of Cultivating Culture

    A Stellar Century of Cultivating Culture

    COVERFEATURE THE PAAMPROVINCETOWN ART ASSOCIATION AND MUSEUM 2014 A Stellar Century of Cultivating Culture By Christopher Busa Certainly it is impossible to capture in a few pages a century of creative activity, with all the long hours in the studio, caught between doubt and decision, that hundreds of artists of the area have devoted to making art, but we can isolate some crucial directions, key figures, and salient issues that motivate artists to make art. We can also show why Provincetown has been sought out by so many of the nation’s notable artists, performers, and writers as a gathering place for creative activity. At the center of this activity, the Provincetown Art Associ- ation, before it became an accredited museum, orga- nized the solitary efforts of artists in their studios to share their work with an appreciative pub- lic, offering the dynamic back-and-forth that pushes achievement into social validation. Without this audience, artists suffer from lack of recognition. Perhaps personal stories are the best way to describe PAAM’s immense contribution, since people have always been the true life source of this iconic institution. 40 PROVINCETOWNARTS 2014 ABOVE: (LEFT) PAAM IN 2014 PHOTO BY JAMES ZIMMERMAN, (righT) PAA IN 1950 PHOTO BY GEORGE YATER OPPOSITE PAGE: (LEFT) LUCY L’ENGLE (1889–1978) AND AGNES WEINRICH (1873–1946), 1933 MODERN EXHIBITION CATALOGUE COVER (PAA), 8.5 BY 5.5 INCHES PAAM ARCHIVES (righT) CHARLES W. HAwtHORNE (1872–1930), THE ARTIST’S PALEttE GIFT OF ANTOINETTE SCUDDER The Armory Show, introducing Modernism to America, ignited an angry dialogue between conservatives and Modernists.
  • LOT 1 Tod Lindenmuth (1885–1976) in the Weir, C. 1940S Linocut Print, 9" X 7" Est: $800–$1,200 Signed Lower Right LOT 2 A.P

    LOT 1 Tod Lindenmuth (1885–1976) in the Weir, C. 1940S Linocut Print, 9" X 7" Est: $800–$1,200 Signed Lower Right LOT 2 A.P

    LOT 1 Tod Lindenmuth (1885–1976) In the Weir, c. 1940s Linocut print, 9" x 7" Est: $800–$1,200 Signed lower right LOT 2 A.P. Todd (20th C) Provincetown from Webster's Hill, 1939 Oil on board, 16" x 20" Est: $800–$1,200 Signed on reverse LOT 3 (LOT OF 4) Albert Edel (1894–1970) Highland Light, c. 1940–60 The Three Towers, c. 1940–60 Drypoint, 3.75" x 4.75" Drypoint, 3.5" x 5.25" Railroad Wharf, c. 1940–60 Sand Dunes, c. 1940–60 Drypoint, 4" x 4.75" Drypoint, 4" x 4.5" Est: $800–$1,200 All signed lower right LOT 4 Agnes Weinrich (1873–1946) untitled (two women), n.d. Ink, graphite, pastel on paper, 5.5" x 8.75" Est: $400–$600 Signed lower left LOT 5 Herman Maril (1908–1986) Monhegan Island, Maine, 1962 Ink wash on paper, 23" x 29" Est: $2,000–$3,000 Signed lower left LOT 6 Dorothy Loeb (1887–1971) Fish Houses, Barnstable, c. 1929 Watercolor on paper, 15" x 21" Est: $600–$800 Signed lower right LOT 7 Chaim Gross (1904–1991) Mother and Child, 1974 Bronze with wooden base, 8.5" x 4.5" x 4.25" Est: $1,000–$1,500 Signed on reverse LOT 8 Lillian Orlowsky 1914 2004 Collage Abstraction, n.d. Oil and mixed media on board, 16" x 12" Est: $1,000–$1,500 Signed lower left LOT 9 Ada Gilmore (1882–1955) Floral Study, 1940 Watercolor on paper, 11" x 10" Est: $400–$600 Signed lower right LOT 10 Arthur Cohen (1928–2012) Terra Nova, Silver Mink, 2006 Oil on canvas, 30" x 40" Est: $2,000–$3,000 Signed lower right LOT 11 Selina Treiff (1934–2015) Dancer with White Bird, 2001 Oil on paper, 18" x 24" Est: $1,000–$1,500 Signed upper right LOT 12 Henry Hensche (1899–1992) Demonstration Still Life, c.
  • 2019 27Th Annual Poets House Showcase Exhibition Catalog

    2019 27Th Annual Poets House Showcase Exhibition Catalog

    2019 27th Annual Poets House Showcase Exhibition Catalog Poets House | 10 River Terrace | New York, NY 10282 | poetshouse.org ELCOME to the 2019 Poets House Showcase, our annual, all-inclusive exhibition of the most recent poetry books, chapbooks, broadsides, artists’ books, and multimedia works published in the United States and W abroad. This year marks the 27th anniversary of the Poets House Showcase and features over 3,300 books from more than 800 different presses and publishers. For 27 years, the Showcase has helped to keep our collection current and relevant, building one of the most extensive collections of poetry in our nation—an expansive record of the poetry of our time, freely available and open to all. Building the Exhibit and the Poets House Library Collection Every year, Poets House invites poets and publishers to participate in the annual Showcase by donating copies of poetry titles released since January of the previous year. This year’s exhibit highlights poetry titles published in 2018 and the first part of 2019. Books have been contributed by the entire poetry community, from the publishers who send on their titles as they’re released, to the poets who mail us signed copies of their newest books, to library visitors donating books when they visit us. Every newly published book is welcomed, appreciated, and featured in the Showcase. The Poets House Showcase is the mechanism through which we build our library: a comprehensive, inclusive collection of over 70,000 poetry works, all free and open to the public. To make it as extensive as possible, we reach out to as many poetry communities and producers as we can, bringing together poetic voices of all kinds to meet the different needs and interests of our many library patrons.
  • Agnes Scott Alumnae Magazine [1984-1985]

    Agnes Scott Alumnae Magazine [1984-1985]

    iNAE m^azin: "^ #n?^ Is There Life After CoUege? AGNES SCOTT COLLEGE ALUMNAE MAGAZINE v^ %' >^*^, n^ Front Coilt; Dean julia T. Gars don her academic robe for one of the last times before she ends her 27-year ten- ure at ASC. (See page 6.) COVER PHOTO by Julie Cuhvell EDITORIAL STAFF EDITOR Sara A. Fountain ASSOCIATE EDITOR Juliette Haq3er 77 ASSISTANT EDITOR/ PHOTOGRAPHER Julie Culvvell ART DIRECTOR Marta Foutz Published by the Office of Public Affairs for Alumnae and Friends of the College. Agnes Scott College, Decatur, GA 30030 404/373-2571 Contents Spring 1984 Volume 62, Number FEATURES ARTIST BRINGS THE MOUNTAIN HOME hdieCidudi I Agnes Scott art professor Terry McGehee reflects on how her trek in the Himalayas influenced her art. IS THERE LIFE AFTER COLLEGE? Bets_'v Fancher 6 Dean Julia T Gary takes early retirement to pursue a second career as a Methodist minister. 100 YEARS. .. Bt'ts>- ¥a^^c\^er 14 John O. Hint reminisces about his life and his years at Agnes Scott. DANCE FOLK, DANCE ART DANCE, DARLING, DANCE! Julie Culudl 16 Dance historian and professor Marylin Darling studies the revival and origin of folk dance. PROHLE OF A PLAYWRIGHT Betsy Fancher 18 Pulitzer Prize-winning alumna Marsha Norman talks about theatre today and her plays. "THE BEAR" Julie Culwell 22 Agnes Scott's neo-gothic architecture becomes the back- drop for a Hollywood movie on the life of Alabama coach Paul "Bear" Bryant. LESTWEFORGET BetsyFancher 28 A fond look at the pompous Edwardian figure who con- tinues to serve the College long past his retirement.