Visions Vol. XIV, Fall 2014 News from the Friends of Art Sweet Briar College THE Friends of Art Board President President’s Letter Molly Sutherland Gwinn ’65 Contents The hot topic among college educators for has been underwritten by the Friends of Treasurer the last few years has been the viability Art in celebration of our 75 years as an Barbara Hastings Carne ’69 Vol. XIV, Fall 2014 Secretary of online learning as a tool for making organization and in honor of the newly Melissa McGee Keshishian ’71 The President’s Letter...... 1 higher education accessible and affordable renovated Cochran Library. Members to more young people. The popularity of For us, MOOCs are no substitute for a May Carter Barger ’81 On Site with Catherine Peek...... 2–5 Massive Open Online Courses, or MOOCs, Elinor Plowden Boyd ’74 Sweet Briar education as we know it, but is due in large part to their digital format, Margaret Hayes Brunstad ’72 Sweet Briar Alumnae in the Visual Arts...... 6–9 the online classroom may prove effective readily available to anyone with an internet Sigrid Zirkle Carroll ’93 in extending the reach of programs, not connection, and by extension, their Susan Stephens Geyer ’74 Students Explore Museum Internships...... 10–11 just in the arts, but across the curriculum, Kathy Jackson Howe ’78 disruption of the old knowledge delivery to underserved groups, for example, Reyhan Tansal Larimer ’62 The “Big Night” in Guion Pond...... 12 system, which required lecture halls, to students who cannot afford the cost Linda Lipscomb ’73 seminars and laboratories, and instructors of a four-year program; to members of Nancy Dabbs Loftin ’81 Art History Professor Maps the Middle Ages...... 13 in place. Students registered for MOOCs in Elizabeth Wray Longino ’78 other institutions such as community or overwhelming numbers, but it remains to Chasity Clarke Miller ’04 The Studio Art Prize...... 14 neighboring colleges, who must fulfill a Barbara Behrens Peck ’78 be seen how many will complete Deborah Schmidt Robinson ’89 The Writing Prize...... 15 the courses required for a degree Frances Anne Root ’80 and upon graduation, find a job in Graham Maxwell Russell ’79 News of the Collection...... 16–17 their field. While MOOCs satisfy Mary Page Stewart ‘78 our modern taste for innovation, Jane Hemenway Sullivan ’78 Friends of Art Members 2013-2014...... 18 our need for the next big thing in Elizabeth Wilkins Talley ’88 education, how can they replace Membership News...... 19 Visions co-editors the traditional model of face-to-face May Carter Barger ’81 The Acquisition Plan...... 20 learning and research on campus? Margaret Hayes Brunstad ’72 Melissa McGee Keshishian ’71 The process of education at Sweet Calendar of Exhibitions and Programs...... 21 Briar, through real-time interactions Molly Gwinn at the Visions designer and conversations between students Museum of Modern Art, Nancy Blackwell Marion ’74 On the Cover: José Guerrero (1914-1991), Untitled, 1959, watercolor and gouache on paper, 18 3/8 x 24 ¼ inches. and faculty members or hands-on summer 2014 Designed and produced by The Bequest of Arthur M. Bullowa, 1993; Collection of the Sweet Briar College Art Collection and Galleries. research projects, has always been Design Group, Lynchburg, Virginia. © José Guerrero. For more about this artwork, see page 16. the focus of Friends of Art support. From course requirement; to life-long learners, the beginning, we believed in the value of for whom continuing education adds Please note that alumnae news from those active in the visual arts—for example making works of art from the Sweet Briar richness and the challenge of new ideas. your accomplishments in art history, art appreciation, studio art, design, collection available to students as they In short, the virtual classroom can open architecture, arts management, museum administration and the like—is always mastered the histories and processes of art. the door to the physical campus. And the welcome for inclusion in issues of this newsletter. Please contact Karol Lawson at This publication is printed on Each spring students are invited to submit eventual role of MOOCs may be as higher recycled paper. Please recycle. (434) 381-6248 or [email protected]. writing projects or studio works inspired by education’s most powerful marketing tool. objects in the collection and the winners The possibilities for combined learning are recognized with cash awards, as well experiences are endless.

as publication in Visions. In addition, our Friends of Art Vision Statement Over the years many Friends of Art have support of experiential learning in the The Friends of Art of Sweet Briar College actively supports the acquisition, preservation and presentation given generously of money and energy arts now includes a stipend for a summer of the visual arts in service to education at the College and in the broader community. The Friends of Art to build the collection and to establish recognizes both the benefits and joys that knowledge of the arts can bring to one’s life. It advocates study internship at a museum, which this year programs in support of the arts. Our thanks of the arts to develop understanding of the present and historical world and to foster a disposition to think was awarded to Alexandra Raifsnider ’15 for to all of you. We hope that you will renew critically and creatively. her work at the Pearl Buck historic house your membership and join us for the new Art Collection and Galleries Vision Statement outside Philadelphia. Most recently students The regular study of original works of visual art is an invaluable component of a liberal arts education. The ventures that lie ahead, as the nature of a have had the experience of working with Sweet Briar College Art Collection and Galleries enrich the curriculum by providing an on-going opportunity college education becomes more diverse in architect, sculptor, and alumna, Catherine for students and professors to examine and research significant paintings, prints, drawings, photographs, a technologically driven world. sculptures, and other works of fine art. Peek ’01, as she developed the concept of her environmental sculpture Uplift, now taking shape behind the library. The project Molly Sutherland Gwinn ’65 Visions Fall 2014 Visions Fall 2014 1 On Site with Catherine Peek Elevation sketch for the final design of Uplift. Courtesy of Catherine Peek.

committee last fall, she was certain about of the campus. From the first her proposal a very few features: the title, location, and incorporated functionality: the gentle waves its form as a series of small rolling hills of the sculpture would create a quiet spot Catherine Peek and dells that mimicked the topography for reading or conversation or an outdoor Molly Sutherland Gwinn ’65 of the campus. She called her piece Uplift, classroom easily accessible from the Library. in reference to an early 20th-century Since then, many details about Uplift have African-American women’s movement that evolved as Peek has adjusted her vision in ast summer the Friends of Art board of reviewing proposals and inviting a short promoted the advancement of families response to suggestions from students and announced an exciting new endeavor— list of candidates to campus—a process led through faith, education, community, and faculty members, who explored placement the commission of a site specific by art gallery staff and professors from the hard work. She also intended the title Uplift, of the sculpture so students would actually sculpture to celebrate the renovation art history and studio art departments—the to refer to the rise and fall of the Blue use it, and from campus engineers and Land enlargement of Cochran Library and to project was offered to architect and designer Ridge surrounding campus. She foresaw the groundskeepers, who helped guide decisions mark the 75th anniversary of the founding Catherine Peek ’01 in the winter of 2014. sculpture on the incline behind the Library about infrastructure and materials. of the Friends of Art (Sweet Briar’s oldest When Peek first introduced her concept where undulating forms would attract the such organization devoted to the enrichment The process of collaboration, which was for an environmental sculpture to a faculty attention of drivers approaching the heart of the student experience). After months initiated when Peek visited Professor Tracy Hamilton’s Land as Art class this past spring, had been written into the project Catherine Peek has been awarded a She foresaw the sculpture from the beginning. Candidates were asked Harry D. Forsyth Fellowship residency at on the incline behind the in the original request for proposal for a the Virginia Center for the Creative Arts commitment to a “process of discovery” wherein the artist would work closely with for several weeks in October 2014. This Library where undulating students and faculty on a concept that would will allow her to be on campus during evolve into the final work of art. For Friends a crucial, and exciting, phase of the forms would attract of Art board members, underwriting the construction of Uplift. the attention of drivers sculpture project was as much about creating In addition to support from the Friends a new opportunity for learning as it was about adding the first earthwork on campus, of Art, the commission of Uplift is approaching the heart of and a substantial addition to the College’s art made possible by a fund established collection. by Cordelia Rucker Penn Cannon ’34 to the campus. Collaboration is nothing new to Peek, whose support the acquisition of contemporary day-to-day work as an architect and urban sculpture. designer depends upon incorporating ideas Catherine Peek visits the site with art history students. from colleagues and patrons. Peek admits that she is particularly drawn to projects that 2 Visions Fall 2014 Visions Fall 2014 3 seemed to invite lounging, even without the Catherine Peek “Schools have a natural ambience of lush grass and filtered shade. staking out the final On the same visit Peek was able to check location behind the energy, playfulness the correspondence of her created landscape new addition to to the actual ridgeline of Amherst County as Cochran Library in the and engagement that viewed from the top of the library. company of structural engineer Tony Pace, Peek’s challenge in the last weeks of from Nolen Frisa really resonate with my summer was researching the materials that Associates, Forest, will bring her concept to life, and this led to Virginia. approach and style.” frequent conversations with Steve Bailey, an engineer and head of the College’s physical involve campus learning spaces. She says, plant department, and master gardener “Schools have a natural energy, playfulness Donna Meeks, head of the campus’s grounds and engagement that really resonate with staff. For example, from Meeks she learned my approach and style.” Her liberal arts that engineered soils designed for green background—at Sweet Briar she majored in roofs would be the most stable material mathematical physics, but also found time to use as infill behind the retaining walls. to work in the art studio with Professor Her former advisor, mathematics professor Laura Pharis—exposed her to an array of Steve Wassell, who has a long-standing disciplines, honed her communication skills, interest in architecture, pressed Peek to use and most importantly, encouraged her to ask stone for the retaining walls that appear as the questions. hills rise across the site, but for practical and budget reasons she opted for cast concrete. In April, when Catherine led students on a By chance, Peek gathered exciting information tour of the site, she heard lots of advice. For from a visitor to campus, an expert in historic example, the sculpture should be moved restoration, who recommended an oxidizing closer to the new library terrace and perhaps paint that could be tinted to match the color be linked by a pathway, to make the hills of Virginia’s distinctive red clay and applied to more inviting. Students also offered their the concrete. Now, Catherine is making final ideas about strengthening the aesthetics of the decisions about ground cover, and creeping piece, notably that the hills or waves of green thyme might be the solution—soft, fragrant, should be allowed to appear and disappear as and easy to care for. they stretched across the site to enhance the scale of the sculpture against the library wall. Work on the site will begin in September shortly after classes begin. Faculty members Designing the work’s specifics this summer, requested that Catherine wait for the Peek used geological survey maps to students’ return so that they could observe take profiles of several ridges visible from and be involved with various aspects of the campus. When the installation is finished, sculpture’s construction. Further, in practical each row will stand on the shoulders of the Friends of Art welcomes new board members terms, exterior work on Cochran Library preceding row, similar to women standing will be finished by then and the exterior At its spring 2014 meeting the board elected Susan Stephens Geyer ’74, Dallas, Texas on the shoulders of preceding generations. “canvas” ready for Peek’s vision to take five new members who bring to Friends of Linda Lipscomb ’73, Dallas, Texas In June, Peek enlisted the help of Library form in autumn’s cooler weather. The artist Art years of experience working on behalf of student workers to interact with a full-scale Elizabeth Wray Longino ’78, Dallas, Texas is confident that work will be complete the College, supporting and managing arts mock-up of the earthwork, which extended Mary Page Stewart ’78, Baltimore, Maryland for the November 7 dedication of Cochran organizations of all types, fund raising in the across 200 linear feet of plotting paper. nonprofit sector, and teaching. Library. Mark your calendars for the exciting Elizabeth Wilkins Talley ’88, Richmond, Virginia Students found spots on the model that unveiling of Uplift!

4 Visions Fall 2014 Visions Fall 2014 5 Kathryn E. Lawson • Céleste C. Wackenhut Sweet Briar Alumnae in the Visual Arts Elinor Plowden Boyd ’74 and Kathryn Zimmerhanzel ’14

uring the Friends of Art reception on choice of majors took a detour when she whether permanent faculty or one-day At Sweet Briar. She served as president of Reunion weekend 2014, a graduate of signed up for Professor Aileen Laing’s art conference-goer, feel part of an intellectual the German Club, treasurer of her senior Dthe class of 2004 could be seen intently history survey course. At the end of term she community.” In her current role, she oversees class, and coordinated a number of campus studying the placards, competing for the prize said, “This is what I want to do—not history!” meetings with faculty leaders from NYU, activities with her peers. That leadership in the FOA scavenger hunt based on the After graduation, her first job was in Saratoga manages the doctoral and visiting scholar experience gave her a lot of confidence exhibit Student, Teacher, Mentor, Friend: The Springs, New York, assisting antiques dealer program, and coordinates lectures, seminars, and the ability to express her opinion Impact of Artists’ Relationships. Kate Lawson, and auctioneer Mark Lawson (no relation). workshops, and international conferences. confidently. She recalls, “I was trusted to a native of Chanhassen, Minnesota, armed In 2007 she advanced her career by earning To date, those events number around 40 and assume responsibilities—that has carried over with a degree in art history and international a master’s degree from New York University counting, and the number of Ph.D. candidates to my current job, for example organizing affairs and a minor in German, was going in art history with a focus on medieval art in the program now totals 16. a workshop on monastic education in the for the gold. What almost stumped her? A and the history of collecting. For the past five Where did Lawson learn to organize and pull Greco-Roman world. SBC’s small environment question lurking near the end of the form, years, she has served as assistant director of diverse groups of people and ideas together? handed me those types of opportunities.” “One artist was inspired by another’s work. academic affairs for New York University’s Her best advice to Sweet Briar students who Name both artists.” She found the answer, Institute for the Study of the Ancient World want to pursue a career in art history? “Study and beat the competition to win the Sweet (ISAW). German!” she vigorously notes. “Studying Briar bookstore gift certificate—a bonus ISAW was created in 2006 by a gift German at SBC has given me an advantage in for attending Reunion and returning to the from the Leon Levy Foundation, whose my career. I did not realize how important it institution that has helped shape her career in benefactors, Leon Levy and his wife, Shelby would be for further studies in art history, but the global world of art. White, envisioned a research powerhouse as a result of my classes, I was able to take the The die had been cast early for Lawson on “encompassing the ancient world from the language test for the M.A. right away without visits to museums like the Art Institute of western Mediterranean to East Asia, from additional work, and it was no problem.” Chicago with her family and exposure to the Neolithic to the early Medieval period... Lawson also advises students to take on more the “art lady” (her mom) in her elementary focused on creating a new generation internships, even if unpaid, to gain valuable school classroom. She arrived at Sweet Briar of scholars whose work crosses over experience they need for today’s job market. contemplating a major in history, but her the disciplinary boundaries of traditional She also recommends classes in the arts departments.” ISAW offers an innovative management program and field trips to New Kathryn E. Lawson ’04 interdisciplinary program of research York for networking with alumnae. seminars, exhibitions, archaeological projects, Assistant Director of Academic Affairs, Lawson has seen the benefit of students and work experience tailored to individual Institute for the Study of the Ancient having access to digitized collections while scholars’ interests, and promotes one-on-one World, New York University, New York at ISAW, and hopes that in the future, Sweet contact with top faculty. Briar faculty and students will have similar Lawson began as a graduate assistant at ISAW. access to the College’s permanent collection She was then offered a promotion working for research and study. ISAW, for example, with the director, Roger Bagnall, to help build is helping create a digitized repository of the ISAW program from scratch—policies, artifacts included in exhibitions even after programs, and guidelines. Bagnall says, the exhibits move on to other locations, “Kate brings to her work an extraordinary providing permanent access to images, maps combination of energy and calm, and other materials. efficiency and kindness. Her intelligence, A view from the ISAW foyer featuring an object from its first Eventually Lawson would like to transition thoughtfulness, and foresight have been a exhibition in 2008, Wine, Worship and Sacrifice: The Golden Graves of Ancient Vani. Photo by Andrea Brizzi. Courtesy of the from the academic side of art history to the major factor in making everyone at ISAW, ISAW Exhibitions Department. curatorial, working directly with a collection 6 Visions Fall 2014 Visions Fall 2014 7 Kathryn E. Lawson • Céleste C. Wackenhut

in a museum setting. And yes, she is still on Museum in San Antonio, Texas, led to a job speaking terms with classmate, good friend, as a curatorial and communications assistant and eager Reunion scavenger hunt opponent, there. Christina Chubb ’04, of Richmond, Virginia. In conversation, she lists all of these “Rematch!” anyone? achievements, not in the interest of self- • • • aggrandizement, but as a reflection upon ne of the most important things the value of each experience. Wackenhut I have learned in my career also credits Sweet Briar with much of her is to always be progressing.” success, highlighting the relationships and “O opportunities that it provided her. She This statement is a perfect reflection of Céleste Wackenhut as a professional and an remarks, “Even years after graduating, I felt individual. Her career in the arts is evidence like I could contact professors for advice of her drive and fearlessness to explore and or recommendations.” In the intimate yet grow. challenging atmosphere of the College, she learned to never settle for less than Graduating from Sweet Briar with a degree she wanted or knew she deserved. So, not in art history and Italian studies, along seeing enough room for advancement in with the arts management certificate, she the top-heavy museum world, Wackenhut became the interim admissions assistant at took a huge chance by leaving the McNay the Virginia Center for the Creative Arts. Museum and joining Billy Lambert’s team at This led to the internship program at the his San Antonio art and design firm, French & Peggy Guggenheim Collection in Venice. Michigan. Wackenhut then obtained her master’s degree from the University of Edinburgh in the The two have built the gallery component A view of the French & Michigan Gallery. history, curation, and criticism of modern of French & Michigan from merely an idea art. A curatorial internship at the McNay Art to a working gallery space. Combining challenges and highlights her strengths. “One in curating, writing, and marketing, and I contemporary art and design with an of the greatest compliments that [the chief attribute a great deal of that to the foundation intellectual but community-minded curator at the McNay Museum] gave me as I of my arts education at Sweet Briar.” orientation, French & Michigan is a pioneer was leaving was saying that I was the perfect in the San Antonio art world. Currently, the person to do this, with all my experience business continues to grow its innovative artistic outreach by developing programs for public and youth education, creating a publication highlighting local writers, About the authors: Kathryn Zimmerhanzel ’14 majored in art and sponsoring an architectural residency history and graduated with highest honors. She Elinor Plowden Boyd ’74, a board member of was inducted into Phi Beta Kappa and was program. French & Michigan’s mission clearly the Friends of Art, is an artist specializing in oil awarded the Kathryn Haw Prize in Art History for aligns with the multidisciplinary nature of portraits and resides in Southbury, Connecticut. her outstanding scholastic work in the discipline. today’s art. Wackenhut orchestrated the first She met with Kate Lawson at the ISAW head- She spent her junior year in Berlin and hopes to exhibitions, including a publication release for quarters in New York and saw firsthand the care return soon to work with contemporary artists in Céleste C. Wackenhut ’08 their solo presentation in May. In managing and scholarship devoted to ancient objects. alternative exhibition spaces. In the summer of French & Michigan Gallery the gallery, representing artists, and curating 2014 she interned at French & Michigan. San Antonio, Texas exhibitions, she has found a place that both

8 Visions Fall 2014 Visions Fall 2014 9 Internships

ncouraged by the College’s award- The 2014 winner of the internship award was (Virginia) Museum for six weeks. She reported: efficiently, assisted with exhibition research, winning office of career services and Alexandra Raifsnider ’15, who spent June During my time there I helped to organize and contributed to publicity preparation. In armed with recommendations from their and July in Pennsylvania working with the files on pieces in the collection. I also addition to meeting new people and finding professors, Sweet Briar students disperse curator of the historic home of author Pearl helped to consolidate information on her way around the routines and expectations allE across the country every summer for Buck. She wrote over the summer that in places in Lynchburg. This experience of an office environment, she notes that by internships that will enhance their education addition to working with Buck’s library and taught me about what happens behind the working in a world-class museum, “I got to see scenes in a museum. I also learned about and build the foundation for solid work archives, “I am an active participant in the the importance of organization in order what my future profession could look like!” experience. An increasing number of those planning for the upcoming exhibit that will to have information readily available for Following a busy freshman year Abigail students—many officially enrolled in the Arts those doing research. This experience has open on August 1st to commemorate the 50th Schutte ’17 kept her momentum by working at Management Program and those pursuing ultimately encouraged me to continue my anniversary of Pearl S. Buck International.” the Reitz Home Museum in Evansville, Indiana, majors in disciplines such as history and art education after Sweet Briar. Raifsnider notes: an historic property. Filled with enthusiasm, history—are headed for enriching experiences Rising senior Chloe Bandas ’15 was the It was such an exciting and fun she wrote to Lawson, whose museum studies in museums of all sorts. fortunate recipient of a privately-funded experience, and I truly learned a lot class she had taken in the spring, “after doing about working for a small organization stipend that allowed her to work as an Established by the Friends of Art board in 2012, this internship I’ve completely fallen in love that is in a period of transition....Please intern at the Virginia Museum of Fine Arts in the summer museum internship stipend—a with the atmosphere of a museum even more!” thank the Friends of Art board members Richmond. Guided in part by the example of complement to the Friends of Art student again for their generosity for allowing Schutte worked with the collections of the the Friends of Art internship award, August prizes for writing and studio art—is intended me the privilege of accepting an unpaid museum through the database management Davis, of Richmond, had worked with Margaret to encourage student awareness of career internship with the Pearl S. Buck House. I software PastPerfect, led daily tours of the would not have been able to participate in Lippard, director of major and planned giving opportunities in nonprofit museums at home mansion, and sent out weekly newsletters to such an educational opportunity without at Sweet Briar, over the past year to establish and abroad. The stipend helps support a donors. the financial security that the stipend the stipend in memory of his late wife, Virginia student during a summer internship and can provided. Cummings Davis ’42. Bandas spent be used for any associated costs, such as travel This summer several other students also the summer in the office of Jeffery or lodgings. Judges for this year’s competition ventured into the museum world under Allison, Paul Mellon Collection were: Nancy Dabbs Loftin ’81, board member, the supervision of art gallery director Karol educator and manager, and Friends of Art; Tandilyn Phillips, assistant Lawson, who teaches in the Arts Management manager of the museum’s statewide director, Office of Career Services; Karol A. Program. Rising junior Charley Gorman programs. She helped the office run Lawson, director, Art Collection and Galleries. ’16 was a research intern at the Lynchburg

The Pearl S. Buck Home, Perkasie, Pennsylvania. Alexandra Raifsnider ’15 worked in Buck’s library and archives in June and July.

The Lynchburg Museum where Charley Chloe Bandas ’15 (left) hard at work at the Virginia Abigail Schutte ’17 at the Reitz Home Museum, Evansville, Indiana.. Gorman ’16 interned. Photo courtesy of Museum of Fine Arts. She is shown with fellow intern the Lynchburg Museum System. Lori News, a student at James Madison University.

10 Visions Fall 2014 Visions Fall 2014 11 Art History Professor Maps the

About the author: “The Big Night” in Guion Pond May Carter Barger ’81 lives in Gastonia, North Carolina, where she serves on several May Carter Barger ’81 Middle up-and-coming arts organizations, including the CaroMont Hospital art selection committee and Artspace Gastonia. She is a member of the Friends of Art board. Ages very year on a warm, rainy night near annual migration from burrows in the forest and to determine whether the population is Associate Professor Tracy Hamilton was the end of winter, spotted salamanders floor to Guion Pond, where they celebrate stable, growing or shrinking. one of 16 fellows selected to participate in (Ambystoma maculatum) return to the what students refer to as “The Big Night.” After each salamander is examined, it was the first Kress Summer Institute on Digital pond where they were born. Mapping and Art History at Middlebury E When rain began falling on the evening released back into Guion Pond for a “Big College in August. Every two years, Dr. Linda Fink’s biology of March 2, seven students donned their Night” of mating. students interrupt Sweet Briar’s salamanders raingear and headlamps and headed for For the book, the biology students wrote While there, she began using technology on this journey in order to study their life the woods. The more than 500 salamanders the explanatory text, while etching called Geographic Information Systems span and mating habits. Because amphibians were just beginning their journey. Twenty classes provided illustrations and a two- (GIS) to map evidence relating to a are in trouble worldwide, the biology students worked in shifts until midnight; dimensional design class created the capital number of royal and noble women living students are monitoring the health of this some collecting the salamanders and others letters and typeset the text. in Paris in the 14th century. Hamilton campus population. Professor Fink’s field taking turns weighing, measuring and focused on mapping their residences, natural history and ecology students have checking for abnormalities. An ultraviolet If you want to know what Sweet Briar’s belongings, commissions, and ceremonies. been surveying the salamanders since 2007. light was shined on one leg to determine if salamanders actually DO on “The Big Night,” Her purpose has been to increase both you’ll have to read The Secret Life of Sweet This year, the biology students joined there was a pink or orange dot, indicating the scholarly community’s and the general the salamander had been counted in a Briar’s Salamanders! You can find it at: public’s understanding of late 13th and forces with Professor Laura Pharis’s studio spottedsalamandersatsweetbriar.shutterfly.com. art students to write, design and publish previous census. These data will be used to 14th -century France and to encourage a book about Sweet Briar’s salamanders’ help determine the salamanders’ life spans, a re-examination of European and Mediterranean history from a woman’s perspective. “I feel really honored to have been chosen for this institute and know it will transform what I am able to do with my scholarship and teaching,” Hamilton says. “It’s incredibly exciting!” Creating these maps will support Hamilton’s latest research project, “The Ceremonial Landscape: Art, Gender, and Geography in Late Medieval France.” As a first showcase for this mapping work, Hamilton will present a paper titled “Digitally Mapping the Queen in Fourteenth-Century Paris” at the Texas Medieval Association Conference scheduled for October 2-4, 2014.

Explanatory page from The Secret Life of Sweet Briar’s Salamanders. Marcelle Coronel ’17, Salamander Life Cycle, 2014, etching on paper. Courtesy of the artist. 12 Visions Fall 2014 Visions Fall 2014 13 The Studio Art Prize The Writing Prize stablished by the Friends of Art board in particularly moving entry, since it addresses— n 2009, the Friends of Art board approved the (graduating 2014) and Khirsten Cook ’15. 2012 and funded in loving memory of with a wry edginess—the dilemma of young establishment of a prize for currently enrolled A repeat winner, Cook, an art history and Lydia C. Daniel by her family, the Studio women the world over. Sweet Briar students to recognize excellence E I creative writing double major, also won the 2013 Art Prize recognizes student achievement in in writing about art, specifically original works in Coronel wrote in her application: prize with a short story inspired by the prints of the visual arts inspired or precipitated in some the College art collection. The writing submitted Ana Maria Pacheco. Her 2014 submission was a fashion by original works in the College’s art The similarities between our pieces of art are can be of any sort—from art historical research remarkably distinguishable. Both our pieces are magical short story, “We Are Light and Shadow,” collection. Judges for the 2013-2014 competition and formal analysis to poetry and short stories, mostly black and white with the featured woman’s inspired by a 1938 lithograph by Peter Hurd, were: Laura Pharis, professor of studio art; Elinor and anything in between. Gallery director Karol skin being the only noticeable color difference. Sermon from Revelations. Indeed, Cook’s entries Plowden Boyd ’74, board member, Friends of Unlike Lalla’s piece, the words on my piece are Lawson notes that, “The possibilities are endless in the Friends of Art competition have paralleled Art; Karol A. Lawson, director, Art Collection and written in English....Except for the fact that the within a liberal arts curriculum. I would love to her work in an independent study course last Galleries. woman in my piece is American, she has no see a theater script or journalism piece submitted distinct identity. The words written on the black spring, an honors research project this summer, in the future!” The winner of the 2014 prize was Marcelle and white surfaces represent the voice of both and an ambitious honors project as she heads Coronel ’17, a first-year student. Her the American society and the American social Judges for this year’s competition were: Kimberly into her senior year—all focused on ekphrastic submission, Cover Up, Covergirl, was a response media. Whereas, the words on the woman’s skin Morse-Jones, assistant professor of art history; writing and significantly inspired by the College are her own voice. As young American women, to Lalla Essaydi’s 2005 photograph Les Femmes we are pressured by what our society says we Seth Clabough, director of the Academic art collection. du Maroc #17—a perennial favorite with Resource Center and assistant professor of should and should not do. It is our job to find our Wise, an art history major as well as a students since its purchase with Friends of inner light, our inner voice, to speak up against English; Margaret Hayes Brunstad ’72, board professional musician, caught the judges’ Art support in 2007. The judges found this a the chaos that, at times, seems to suffocate us. member, Friends of Art; Karol A. Lawson, attention with her succinct but thoughtful director, Art Collection and Galleries. exploration of a photograph that documents a Two creative applicants caught the judges’ work of environmental art. attention this year: Elizabeth Wise ’11

“A Word On The Making of Andy Goldsworthy’s Red Pool, Scaur River, Dumfriesshire (1994-1995)” Elizabeth Wise He grinds away the hard evidence To let the veins of the rock Spread back to the throttle. There, it churns The river is dyed with life Like it’s one of Earth’s veins His mindful hand reminds us how time works How blood works. Everyday. Overtime. In everything. Solid Beholds Liquid Andy Goldsworthy (born 1956), Red Pool, Scaur River, Dumfriesshire, 1994-1995, Cibachrome print, 19 3/8 x 19 3/8 inches. Gift of Magda And he leaves behind Lalla Essaydi (born 1956), Les Femmes du Maroc #17, 2005, Salvesen ’65, 1995. Collection of the Sweet Briar College Art Collection A red puddle of rock. chromogenic print on paper mounted on aluminum, 30 x 40 inches. and Galleries. ©Andrew Goldsworthy. Purchase made possible by the Friends of Art, 2007; Collection The poem is printed courtesy of the author. Marcelle Coronel, Cover Up, Covergirl, 2014, graphite and pen of the Sweet Briar College Art Collection and Galleries. ©Lalla on paper with digital imaging, 6 x 8 3/8 inches. Courtesy of the Essaydi/Courtesy Edwynn Houk Gallery, New York. artist.

14 Visions Fall 2014 Visions Fall 2014 15 and he played an important part in the to be functional but, in truth, are not; tradi- revitalization of the nation’s contemporary tional vessel forms that have inspired potters art world. Guerrero was honored by for thousands of years; the humble pieces made to hold water or morning coffee....I major retrospectives at the Museo de arte have made thousands of objects over the contemporáneo, Seville, in 1990, and at the years for the simple reason that I like to Museo nacional centro de arte Reine Sofía, make things.” in Madrid, in 1994. The artist’s family opened the Centro José Guerrero in Granada in 2000. Ancient Artifacts Repatriated Readers of this newsletter will recall a 2013 New Acquisition Honors Professor article about the art gallery staff’s work to As part of its June 2014 meeting the Friends return to their cultural community Native of Art board visited the Amherst, Virginia, American ceramics associated with human home and studio of Joe Monk, who was burials under the federal Native American set to retire from the College’s studio Graves Protection and Repatriation Act of art department after several decades of 1990. Following months of research, reports, distinguished service. To commemorate his and coordination, in June 2014 director Karol tenure, a major recent work—one of Monk’s Lawson drove the 10 artifacts home to the “memory jars,” an example of his pique Quapaw Tribe of Indians. She handed them assiette style of work using found objects over to the tribe’s chairman, John Berrey, and slip cast shapes to encrust sculptural on a patio outside the curatorial offices and functional forms—has been acquired of the Arkansas Archaeological Survey, for the College’s permanent collection. In in Fayetteville, which serves as an official fact, this piece was shown in a 2011 group repository for the Quapaw. exhibition in Pannell Gallery of the studio Berry “smoked” each pot over a fire of hickory, José Guerrero (1914-1991), Untitled, ca. 1960-1980, watercolor and gouache on paper, 18 1/8 x 24 3/8 inches. Bequest of Arthur M. Bullowa, art faculty. On that occasion, Monk wrote red oak, and cedar, and brushed them with an 1993; Collection of the Sweet Briar College Art Collection and Galleries. © José Guerrero. that: eagle wing. This blessed and rededicated the While some artists explore an idea in incre- mental steps—one piece naturally following artifacts before they joined the thousands of News of the Art Collection from the work that directly precedes it, my similar Quapaw ceramics inside the facility. and in Madrid and Paris. Following several work also moves in increments but along Lawson was impressed by the simplicity and Featured Work years of travel in post-war Europe, he four major lines of interest: sculptural forms sincerity of the ceremony and was touched The artwork featured on this issue’s cover immigrated to the United States with his that often spring from repurposed items by the Quapaw leaders’ expressions of found in the hardware or automotive store; is from the permanent collection and will wife, American journalist Roxane Pollock. sculpture that borrows from the traditions of appreciation for the care that Sweet Briar be included in a spring 2015 exhibition in They settled in New York, where Guerrero ceramic art making; vessel forms that appear had devoted to the objects for many years. Pannell Gallery. This is one of two abstract soon associated himself with the Abstract compositions in gouache, an opaque water- Expressionist movement. In the 1950s his based medium, by Spanish-American painter professional debut was marked by a solo José Guerrero. Both came to the College’s exhibition at the avant garde Betty Parsons permanent collection as a bequest from the Gallery—an important commercial venue Spotlight on the Collection significant New York collector Arthur M. for an entire generation of innovative Bullowa, whose estate was managed by David American artists such as Jackson Pollock Joe Monk, Memory Prager, the husband of Annabelle Forsch Prager and Barnett Newman—and his inclusion in Covered Jar, 2011, ’43. Bullowa, a Manhattan lawyer, collected a show of promising young painters at the ceramic and found pre-Columbian artifacts as well as modern Guggenheim Museum. Influenced by friends objects, 22 x 22 art and served for a number of years as the and colleagues such as Mark Rothko, Franz inches. Purchase made possible by the Friends president of the Aperture Foundation, which Kline, and Robert Motherwell, Guerrero of Art; Collection of the publishes journals and books devoted to became known for his vivid palette and Sweet Briar College Art photography. dramatic gestural compositions. Collection and Galleries. Courtesy of the artist. Guerrero (1914-1991) was a native of He and his family returned to Spain in the Grenada, Spain, and was educated there mid 1960s as the Franco regime waned The repatriation ceremony for Quapaw ceramics. 16 Visions Fall 2014 Visions Fall 2014 17 Friends of Art Members July 1, 2013-June 30, 2014 Sustainer ($2,500 Jacqueline Mabie Humphrey ’60 Wendy Weiss Smith ’71 Dana Bordvick Poleski ’98 and above) Elizabeth Higgins Jackson David Snyder and Barbara Matysek Mr. and Mrs. Kerry Reynolds Catherine Caldwell Cabaniss ’61 Lindsay L. Rice ’08 Jessica Bemis Ward ’63 Alice Haywood Robbins ’65 Caroline Casey Brandt ’49 Margaret Christian Ryan ’74 Mr. and Mrs. William M. Webster III Betty Rau Santandrea ’70 Rebecca Carter Barger ’81 Emily Pleasants Smith ’65 (Langhorne Tuller ‘58) Mary Susan Sinclair-Kuenning ’09 Pamela S. Weekes ’83 Robert H. Barlow Mildred Newman Thayer ’61 Patron ($1,000-$2,500) Dana Dewey Woody ’58 Sandra Schwartz Tropper ’73 Helen Scribner Euston ’65 Gwendolyn Wray-Samans ’01 Individual and Student / Patricia Calkins Wilder ’63 JOIN Frances A. Root ’80 Young Alumna ($25-50) Mr. and Mrs. Robert C. Wood III Barbara Hastings Carne ’69 Contributing ($100-$250) Aimee E. Armentrout ’99 (Mina Walker Wood ‘62) Mary Sutherland Gwinn ’65 Mr. and Mrs. Kenneth Lawson Rushton Haskell Callaghan ’86 Anne Randolph Marshall ’77 Kathy Jackson Howe ’78 Anne Litle Poulet ’64 Barbara Bush Cooper ’81 Lori Ann Merritt FRIENDS Melissa McGee Keshishian ’71 Mary-Linda Morris ’94 Mary Ann Robb Freer ’54 Maureen K. McGuire ’06 Mr. and Mrs. William Loftin Mr. and Mrs. Forrest L. Gager, Jr. Mary Ann Mellen Root ’53 The Friends of Art is a volunteer membership Levels of support* (Nan Dabbs ‘81) Family/Couple ($50-$100) Jane Piper Gleason ’74 Laura Ann Humphress Toussaint ’06 Deborah Schmidt Robinson ’89 Eleanor Johnson Ashby ’53 Pat Gooch and Michael Dowell organization at Sweet Briar College comprising Elizabeth Groves Aycock ’96 Jonathan D. Green and Lynn M. Buck General Donor (up to $25) alumnae, students, faculty, staff and community General donor . . . . . up to $25 Benefactor ($500-$1,000) Barbara Gracey Backer ’71 Alison S. Hall ’97 Mary Landon Smith Brugh ’57 members that promotes and supports the study of Student/Young Alumna $25–$50 Elinor Plowden Boyd ’74 Dorothea M. Fuller ’53 Lynn Prior Harrington ’58 Robert L. and Katharine Barnhardt Margaret Hayes Brunstad ’72 Sarah Belk Gambrell ’39 Mr. and Mrs. Edward R. Harris, Jr. Chase ’67 the visual arts on campus. For over 75 years, the Family/Couple ...... $50–$100 Mr. James R. V. Daniel Nancy Corson Gibbes ’60 (Dale Hutter ‘53) Isabelle Viguerie Gsell ’86 Friends of Art has been promoting and supporting Contributing ...... $100–$250 Valerie Gordon-Johnson ’74 Suzanne Taylor Gouyer ’61 Kathryn L. Haw ’92 Elizabeth Trueheart Harris ’49 the study of visual arts on the Sweet Briar College H. Therese Robinson Hillyer ’83 Sara E. Granath ’68 Mary Jane Schroder Oliver Vesta Murray Haselden ’38 Sponsor ...... $250–$500 campus. With your vital support, many pieces Helen Murchison Lane ’46 Amy Jessen-Marshall Hubbard ’62 Cissy Humphrey ’76 Benefactor ...... $500–$1,000 Reyhan Tansal Larimer ’62 Margaret Waters Keriakos ’67 Nancy Hudler Keuffel ’62 Martha C. Loftin ’07 have been added to the collection and the Mary Scales Lawson ’70 Dr. and Mrs. George H. Lenz Karen Steinhardt Kirkbride ’56 Nancy E. MacMeekin ’65 impact of your tax-deductible gift is seen every Patron ...... $1,000–$2,500 John W. Poynor Sara Finnegan Lycett ’61 Muriel Wikswo Lambert ’66 Terry Sprouse Mays Sustainer ...... $2,500 and above Joanne Hicks Robblee ’70 Peninah Meighan Martin ’58 Keedie Grones Leonard ’76 Meagan L. Oliphant ’11 day throughout campus. Your annual membership Graham Maxwell Russell ’79 Elizabeth W. Matheson ’64 Helen Smith Lewis ’54 Mr. and Mrs. Jerry A. Parker makes a real difference! *All categories apply to an annual membership. Alice Allen Smyth ’62 Sarane McHugh ’81 Gail P. Lloyd ’60 Caroline G. Rainey ’10 Katherine Upchurch Takvorian ’72 Mr. and Mrs. William H. Meadows III Dr. and Mrs. William M. Massie Louise Weston Rainey ’74 Thank you to all who have joined or renewed Wendy C. Weiler ’71 Norma Patteson Mills ’60 Jessica Newmark Catherine Cassidy Smith ’81 your membership in the past year! You have Contributions to Friends of Art are fully tax-deductible. Lindsay Crumpler Nolting ’42 Louise Cooke Newton ’82 Margaret Stanton helped increase our active membership by Sponsor ($250-$500) C. Gail Robins O’Quin ’67 Carol Barnard Ottenberg ’60 Sarah E. Strapp ’10 Elizabeth Few Penfield ’60 Mrs. Douwina Osinga Elizabeth Farmer Owen ’62 Grace E. Suttle ’60 17%, and together we have increased our total For more information, please contact the Sigrid Zirkle Carroll ’93 Mr. and Mrs. H. Gary Pannell Kathleen Garcia Pegues ’71 Murrell Rickards Werth ’44 financial capacity to support the art gallery’s College’s development office at (888) Amy Calandra Davis ’90 Elizabeth Cate Pringle ’62 Jacqueline C. Penny ’71 Sierra T. Wright ’12 acquisitions and student outreach by 23% over Allison Roberts Greene ’81 Magdalena Salvesen ’65 Susan Dern Plank ’73 Sarah Popowski 846-5722 or [email protected]. 2012-2013. Collector’s Circle Rebecca Carter Barger ’81 Barbara Bolling Downs ’64 H. Therese Robinson Hillyer ’83 Amanda Steel Rich ’79 Caroline Casey Brandt ’49 Celia Williams Dunn ’61 Lesley Bissell Hoopes ’68 Lynn Kahler Rogerson ’76 Friends of Art has gone social (social media, that is)! Alice Cary Farmer Brown ’59 Helen Scribner Euston ’65 Mary Jane Schroder Oliver Hubbard ’62 Jill Steenhuis Ruffato ’80 Laura Lee Brown ’63 Marianne Hutton Felch ’79 Jacqueline Mabie Humphrey ’60 Lynn Pearson Russell ’69 Join the conversation on Facebook by simply logging on to Facebook and Catherine Caldwell Cabaniss ’61 Mary Ann Robb Freer ’54 Melissa McGee Keshishian ’71 Mary Lou Morton Seilheimer ’63 searching “Friends of Art Sweet Briar College.” Here you will be able to connect Jean Walker Campbell ’64 Lynn Crosby Gammill ’58 Mary Scales Lawson ’70 Sandra Stingily Simpson ’57 with a growing number of alumnae active in the visual arts as well as friends of Barbara Hastings Carne ’69 Allison Roberts Greene ’81 Sara Finnegan Lycett ’61 Mary Virginia Camp Smith ’36* the College’s art collection. Anyone is welcome to post photos or comments, so Fay Martin Chandler ’43 Mr. and Mrs. Philip Greer Mary Leigh Seaton Marston ’31* Nina K. Steel* Donna Pearson Josey Chapman ’64 Mary Sutherland Gwinn ’65 Antonia Bredin Massie ’77 Elynor Neblett Stephens ’57 we hope you will share recent art adventures, such as exhibits you have visited Claire Cannon Christopher ’58 Elizabeth Forsyth Harris ’60 Mr. and Mrs. William H. Meadows III Ann Percy Stroud ’62 or in which you have participated, professional opportunities that have come Jocelyn Palmer Connors ’62 Mr. and Mrs. William P. Harris Irene Mitchell Moore ’42* Langhorne Tuller Webster ’58 to your attention, and favorite memories of our very own collection. We will be Penelope Lagakos Constantinidi ’74 (Elizabeth Forsyth ‘60) Ruth Myers Pleasants ’34* Wendy C. Weiler ’71 sure to keep you updated on important collection related activities as well as fun Jean Inge Cox ’65 Elisabeth Wallace Hartman ’53 Anne Litle Poulet ’64 Connie Burwell White ’34* up-dates on campus art happenings! Peter V. Daniel* Mayde Ludington Henningsen ’48 Nancy Pesek Rasenberger ’51 Nancy C. White ’79 Juliet Halliburton Davis ’35* Victor W. Henningsen, Jr.* Patsey Carney Reed ’62 *Deceased

18 Visions Fall 2014 Visions Fall 2014 19 The Acquisitions Plan 2014-2015 The permanent collection supports the College’s educational mission, providing teaching and learning opportunities across the liberal arts curriculum. Objects that enrich the Calendar teaching and research focus of art history and studio faculty are especially welcome. The Friends of Art acquisitions committee has focused for a number of years on collecting the work of modern and contemporary women. Please see the list below for individual of Exhibitions and Programs artists in whom FOA has a particular interest. To discuss proposed gifts or bequests please contact Karol Lawson, director of the Art Collection and Galleries at (434) 381-6248 or Anne Gary Pannell Center Gallery [email protected]. Exploring the Visual Experience Abstract Expressionism/Later Sherrie Levine Renike Dijkstra September 12–December 12, 2014 Surrealism Eccentric Abstraction Nathalie Djurberg Reception, Friday, September 12, 5–6 p.m. Open to Elaine DeKooning Tauba Auerbach Annabel Elgar all. Conversation in the Gallery, Tuesday, October 7, Jane Frank Gego Anne Gaskell noon–1 p.m. Open to all. Attendees are welcome to Jane Freilicher Rachel Whiteread Roni Horn bring lunch. Lee Krasner Yayoi Kusama France Virginia Johnston The Art of Teaching: Laura Pharis, John Sally Michel Justine Kurland Morgan, Paige Critcher, Chatham Monk, Susan Crowder, Tropical Nature Study Number 17, 2005, pencil Judith Rothschild Latina Lauray Letinsky and Justin Rice and oil pastel. Courtesy of the artist. Ann Ryan Judith Baca Nikki S. Lee January 22–March 4, 2015 Ester Hernande Susan Meiselas Richard Crozier: Landscape in Transition Teresita Fernandez Tina Modotti Reception Thursday, January 22, 2015, 5–6 p.m. Pop/Op/Color Field January 29–March 25, 2015 Mary Beth Edelson Yolanda Lopez Cindy Sherman Open to all. Artists’ gallery talks, Wednesday, February Reception and artist’s gallery talk, Thursday, January 29, Beverly Fishman 11, and Wednesday, February 18, noon–1 p.m. Open to all. Attendees are welcome to bring lunch. 5–6 p.m. Open to all. Marisol Native American Printmakers Emmi Whitehorse Dotty Attie The Art of Collecting: 20th Century Highlights The Class of 2015 Studio Art Majors’ Exhibition Photorealism Lorraine Bodger March 20–May 31, 2015 April 2–May 16, 2015 Janet Fish African American Suzanne Caporeal S.W.A.N. (Support Women Artists Now) program of Reception, Thursday, April 2, 5–7 p.m. Open to all. Sylvia Sleigh Diane Edison Amy Cutler readings and performances, Friday, March 20, 7–9 Ellen Gallagher Susan Hall p.m. Open to all. Slow Art Day lunch and casual Benedict Hall Gallery Geometric Adrian Piper Freya Hansell roundtable discussions, Saturday, April 11, 12–5 p.m. “A Beautiful Building, Spacious and Well Lee Bontecou Betye Saar Mary Heilman Open to all. Chryssa Renée Stout Margo Humphrey Designed”: Selected Architectural Plans for Mary Frank Mary Jovath Cochran Library Sylvia Mangold Asian American Elaine Kozack Babcock Fine Arts Center Gallery September 25–December 12, 2014 Agnes Martin Amy Cheng Blanche Lazell Susan Crowder: Future Nature Recognizing Excellence: Selected Recipients of Jill Olm Hung Liu Julie Mehretu September 18–November19, 2014 the L. D. Pannell Studio Art Prize Barbara Chase Riboud Jiha Moon Cynthia Nartonus Reception and artist’s gallery talk, Thursday, September February 5–March 4, 2015 Dorothea Rockburne Yoko Ono Elizabeth Peak 18, 5–6 p.m. Open to all. Shahzia Sikander Amy Sillman Recognizing Achievement: Selected Works by Feminist Mayumi Terada Eve Sonneman Current Studio Art Minors Ida Applebroog Anna Heyward Taylor March 26–April 29, 2015 Mary Beth Edelson Photographers Ava Gerber Berenice Abbott Sculptors Art Galleries Hours Eva Hesse Tina Barney Diana Al-Hadid Academic Year: Sarah McEneaney Valérie Belin Alice Aycock Pannell Gallery: Monday–Thursday 10 a.m.–5 p.m., Friday 10 a.m.–2 p.m., Sunday 1–4 p.m.; June Wayne Margaret Bourke-White Nancy Graves Babcock and Benedict Galleries: Monday–Friday 9 a.m.–5 p.m. Deborah Flemming Caffery Barbara Hepworth Please note, the galleries are closed to visitors for all College exam periods and vacations, including winter break Appropriated Imagery/Text Julia Margaret Cameron Louise Nevelson (late December-late January), spring break (mid-March) and summer vacation (mid-May to late August). The galleries Jenny Holzer Imogen Cunningham are open evenings and weekends for special events and College programs as announced. Free admission. Mary Kelly Judy Dater Community tours and programmatic use of the art gallery spaces available on request. For tours and event scheduling Barbara Kruger Lynn Davis please call (434) 381-6248 or email [email protected]. 20 Visions Fall 2014 Visions Fall 2014 21 follow us on Facebook

Elevation sketch for the final design of Uplift. Courtesy of Catherine Peek. Marcelle Coronel ’17, Salamander Life Cycle, 2014, etching on paper. Courtesy of the artist.

Sweet Briar, VA 24595-1115 Visions News from the Friends of Art of Sweet Briar College