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2013 Issue #5 Flint Institute of Arts fiamagazineNOV–DEC 2013 Website www.flintarts.org Mailing Address 1120 E. Kearsley St. contents Flint, MI 48503 Telephone 810.234.1695 from the director 2 Fax 810.234.1692 Office Hours Mon–Fri, 9a–5p exhibitions 3–4 Gallery Hours Mon–Wed & Fri, 12p–5p Thu, 12p–9p video gallery 5 Sat, 10a–5p Sun, 1p–5p art on loan 6 Closed on major holidays Theater Hours Fri & Sat, 7:30p featured acquisition 7 Sun, 2p acquisitions 8 Museum Shop 810.234.1695 Mon–Wed, Fri & Sat, 10a–5p Thu, 10a–9p films 9–10 Sun, 1p–5p calendar 11 The Palette 810.249.0593 Mon–Wed & Fri, 9a–5p Thu, 9a–9p news & programs 12–17 Sat, 10a–5p Sun, 1p–5p art school 18–19 The Museum Shop and education 20–23 The Palette are open late for select special events. membership 24–27 Founders Art Sales 810.237.7321 & Rental Gallery Tue–Sat, 10a–5p contributions 28–30 Sun, 1p–5p or by appointment art sales & rental gallery 31 Admission to FIA members .............FREE founders travel 32 Temporary Adults .........................$7.00 Exhibitions 12 & under .................FREE museum shop 33 Students w/ ID ...........$5.00 Senior citizens 62+ ....$5.00 cover image From the exhibition Beatrice Wood: Mama of Dada Beatrice Wood American, 1893–1998 I Eat Only Soy Bean Products pencil, color pencil on paper, 1933 12.0625 x 9 inches Gift of Francis M. Naumann Fine Art, LLC, 2011.370 FROM THE DIRECTOR 2 I never tire of walking through the sacred or profane, that further FIA’s permanent collection galleries enhances the action in each scene. and I always try to look at the images The images are so layered with visual with fresh eyes. Very often, an artwork messages, I find them impossible that I might have looked at many to pass by without stopping to times before appears as if it was for appreciate their complexity and the first time, filled with details and magnificence. Another work I am messages I had not noticed before. in awe of is “Dancing Maiden,” the This is the magic of great art and the marble sculpture by Alberto Cambi. very reason museums exist. A young and beautiful dancer with Recently, I was asked by a visitor tambourine seems almost weightless to point out three of my favorite works in the collection. Actually, this is a frequent request, and for anyone keeping track, my list of favorites is almost always changing, but here is what I told them… Certainly, the most common favorites among first-time as well as veteran visitors are the colossal glass chandelier by Dale Chihuly hanging in the Lobby, the enigmatic tangle of wires by sculptor Larry Kagan that mysteriously creates an isometric as she is balanced on one foot with drawing of an open-lidded box in the her arms (and other foot) lifted in the unlikely medium of “the absence of air—her spirited movement, frozen light”—the shadow, and the arresting in Cambi’s deft and astonishingly presence of the larger than life, but realistic handling of the stone. strangely real, “Old Man,” as many Presently, there are over 8,000 call him, by artist Evan Penny. works of art in the FIA’s permanent There are three others on my collection yet the process of personal list that I find hard to walk by building a museum collection is without a second look. The graceful never complete. There will always ballet performed by the large-scale, be missing links, discoveries of kinetic sculpture by George Rickey overlooked and underappreciated is a constant source of pleasure. artists, and of course, new creations Permanently installed in the Hurand by contemporary artists. Like most Sculpture Courtyard, the minimalist, museums, our collection is the delicately engineered, Y-shaped form result of generous gifts that reflect with arms that swing with the slightest the vision, intellect, and taste of air currents, casting shadows like a our community’s leaders striving to sundial, is endlessly fascinating in its encourage, enlighten, and inspire their ever changing configurations. The neighbors and guests. 17th century tapestries in the Bray I invite you to view the collection Gallery by Simone Vouet ingeniously again, on your own—for the first depict the epic love story of two star- time—and discover the many secrets crossed lovers through what appear to hidden within each great work of art. be carved stone window frames filled with mysterious symbols, figures, and John B. Henry decoration —each with a meaning, Director 3 EXHIBITIONS Toulouse-Lautrec & His World through 12.30.13 Hodge Galleries Two months remain before Toulouse- Lautrec and His World leaves this on view continent, so be sure not to miss this once-in-a-lifetime opportunity to see 150 works on paper by Henri de Toulouse-Lautrec rarely seen outside of Europe. This exhibition features one-of-a-kind drawings and posters. Tracing his art throughout the Paris social scene, dance halls, café concerts, brothels, theatres, and the famous Moulin Rouge, capturing the essence of Lautrec’s Parisian characters and haunts. This traveling exhibition is on loan from the collection of the Heraklaidon Museum in Athens, Greece, with the FIA being the only Midwestern venue. For related programming, please see Art à la Carte on page 21. Walk on the Wild Side Animals & Other Creatures in Art through 6.29.14 Decorative Arts Gallery Walk on the Wild Side includes art featuring all animal groups from amphibians and reptiles to mammals and the fantastical. These creatures have served as vehicles for allegory and moral instruction, and have stood as symbols for power and social status. Complex and ever changing, this exhibition explores the human relationship with animals through works of various media including textile, ceramic, glass, and precious stone. EXHIBITIONS 4 Beatrice Wood Henri de Toulouse-Lautrec French, 1864–1901 Mama of Dada Eldorado: Aristide Bruant dans son Cabaret 11.16.13 – 1.12.14 color lithograph on paper, 1892 Graphics Gallery 54.3125 x 37.8125 inches Collection of Herakleidon Dubbed the “Mama of Dada” because of her Museum, Athens, Greece involvement with the Dada art movement in New York City during the early 20th century, Beatrice Sponsored by Wood was an American artist and studio potter. While in New York, Wood was introduced to Marcel Whiting Foundation Duchamp, who brought her into the world of Dada. Duchamp was impressed by her work, arranged to have it published, and invited her to work in his studio. It was there that she developed her style of spontaneous sketching and painting that continued throughout her life. This exhibition will From the collection of feature works on paper from the FIA’s permanent Herakleidon Museum, collection in conjunction with works from the Athens, Greece, www. collection of Dada expert Francis Naumann. herakleidon.art.gr/en opening in november For related programming, please see Art à la Carte on page 22 and Bray Lecture on page 23. Beatrice Wood Sponsored by American, 1893–1998 Self-Portrait watercolor and pencil on paper, 1932 9.25 x 7.25 inches Museum purchase, 2011.330 Artist Unknown Chinese, Ming Dynasty, 1368–1644 Guardian Lion Ridge Tile ceramic, n.d. 17.75 x 28.5 x 14.25 inches Gift of Roslyn and Ben Shepps Family, 2010.43 fleckenstein video gallery Release Germany, 1996, by Christoph Girardet, 9:30 min. In Release, a few seconds of terror from the original 1933 King Kong are extended out over nine and a half minutes. Restrained by NOVEMBER her arms, the computer- syncopated actress Fay Wray huffs, puffs, writhes, barks like a terrified dog, fades into exhaustion, wakes up to let out the famous Image courtesy of the Artist screeching scream, and starts up all over again. A strange, rhythmic sound like buzzing hornets at high volume accompanies this bizarre ballet, which never once shows the giant gorilla. Beitbridge Moonwalk Zimbabwean, 2010, by Dan Halter, 3 min. A work inspired by the account of an immigrant who succeeded in illegally crossing the Zimbabwe border into South Africa—without DECEMBER being detected by the police or leaving any incriminating traces—by walking backward over Image courtesy of the Artist the bridge between the two countries. The reference to the dance created by pop star Michael Jackson only adds to the ironic tone of Dan Halter’s sociopolitical cultural criticism. COLLECTIONS 6 art on loan The following artworks are on loan from the FIA to the following exhibitions: Winfred Rembert Winfred Rembert: American, b. 1945 Picking Cotton, Rows to the Amazing Grace Left #2 dye on carved and tooled 8.31.13 – 1.19.14 leather, 2010 33 x 31 inches Montgomery Museum Museum purchase with funds of Fine Arts donated by Mr. William S. Montgomery, Alabama White, 2013.1 Willie Cole Complex Conversations: American, b. 1955 Magna tji wara Willie Cole Sculpture bicycle parts, 2006 48.25 x 23 x 9 inches and Wall Works Museum purchase, 2007.5 9.14.13 – 12.15.13 Weatherspoon Art Museum Greensboro, North Carolina Leon Kroll Industrial Sublime: American, 1884–1974 Terminal Yards Modernism & the oil on canvas, 1913 46 x 52.125 inches Transformation of New Gift of Mrs. Arthur Jerome York’s Rivers, 1900–1940 Eddy, 1931.4 10.12.13 – 1.17.14 Hudson River Museum Yonkers, New York André Dunoyer de Segonzac The Armory Show at 100 French, 1884–1974 Paysage no. 1 (la Forêt) 10.11.13 – 2.23.14 oil on canvas, ca. 1912 29 x 36 inches New-York Historical Society Gift of Mr. and Mrs.
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