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FYI FALL 2016 10Th Anniversary Celebration FALL 2016 FYI 10th Anniversary Celebration CELEBRATING TEN YEARS Director’s Note 3 4 Collection: On View: Real / Radical / On View: 8New Acquisitions Psychological: The Collection on Display 4 Real / Radical / Psychological: Collection: New Acquisitions 8 The Collection on Display Ten Years by the Numbers 10 Calendar 12 Spotlight Series 14 Art on Campus 16 News 17 Education 18 Membership 20 Women and the Kemper 21 CLOCKWISE FROM LEFT: Karl Zerbe (American, b. Germany, 1903–1972), Armory, 1943. Encaustic on canvas, 62 1/2 x 40". Mildred Lane Kemper Art Museum, Washington University in St. Louis. University purchase, Kende Sale Fund, 1946. Charles Sheeler (American, 1883–1965), Powerhouse, 1943. Tempera on paper, 4 x 5 11/16". Mildred Lane Kemper Art Museum, Washington University in St. Louis. Gift of Lawrence and Jane Kozuszek, 2015. Museum members enjoy the Member Preview of the summer 2016 exhibition opening. COVER: Fernand Léger (French, 1881–1955), Les belles cyclistes (The Women Cyclists), 1944. Oil on canvas, 29 x 36". Mildred Lane Kemper Art Museum, Washington University in St. Louis. Gift of Charles H. Yalem, 1963. 19 © 2016 Artists Rights Society (ARS), New York / ADAGP, Paris. 20 Membership FYI FALL 2016 CONTENTS 1 DIRECTOR’S NOTE Ten busy years have passed since the Sam Fox School In association with this, we are pleased to announce of Design & Visual Arts and the Mildred Lane Kemper the publication of Spotlights: Collected by the Mildred Art Museum celebrated the beginnings of a new chapter Lane Kemper Art Museum, an anthology of essays in our history of innovation and collaboration in art and examining fifty artworks from the collection. The texts design. The Fumihiko Maki-designed Museum building were researched and written by more than thirty and Walker Hall, both of which opened in fall 2006, joined authors, including permanent and visiting faculty and the historic Bixby, Steinberg, and Givens Halls, creating a graduate students from the Department of Art History collective campus for the arts on Washington University’s & Archaeology in Arts & Sciences and the Sam Fox Danforth Campus. School, as well as the Museum’s curators and outside art historians. Since then we have welcomed countless students, scholars, and visitors from campus, the region, and The coming academic year is also a time of preparing beyond to experience our exhibitions and accompanying for the future. May 2017 will mark the groundbreaking catalogs, public events, and educational programs. The of major construction on the east end of campus. American Alliance of Museums renewed our national Nestled into the newly landscaped front entrance to accreditation, and we were awarded membership in the the University will be the long-awaited Anabeth and Association of Art Museum Directors. We have launched John Weil Hall for graduate study in art, architecture, important initiatives, such as the University-wide Art on and design, along with a building for the School of Campus program and the KARE program for people with Engineering, Henry A. and Elvira H. Jubel Hall; two Alzheimer’s and other forms of dementia. In support of welcome pavilions; and an underground parking facility. these efforts, we began a membership program featuring Last but not least, with the incredible support and the two special groups Women and the Kemper and the foresight of David Kemper and his family, the Museum will Kemper Student Council, both of which offer unique expand with a new main entrance and lobby and the new engagement designed for those communities. Take a look Laura Kemper Fields Gallery, designed to display more of at highlights of these and other developments over the the Museum’s preeminent collection. past ten years on pages 10-11. As we enter this exciting We are honoring these last ten years with an anniversary and pivotal year, I invite you celebration to welcome and recognize the supporters, to join us in celebrating members, and friends like you who have helped us both the past and the become who we are today. As a special highlight, the future. I look forward to Museum commissioned Ebony G. Patterson (MFA06), welcoming you throughout an alumna of the Sam Fox School’s Graduate School of our 10th-anniversary year! Art and an emerging artist of international renown, to design a large-scale edible artwork for the occasion, to Best wishes, Mildred Lane Kemper Art Museum, opened in be shared by all. 2006. © Maki and Associates. To celebrate the collection that is the core of all we Sabine Eckmann, PhD do, selections are displayed throughout the building. William T. Kemper Director and Chief Curator Organized chronologically and highlighting the concepts real, radical, and psychological as cornerstones for artistic inquiry from the 19th century to today, The Collection on Display weaves together our history and our present. 2 FYI FALL 2016 kemperartmuseum.wustl.edu 3 ON VIEW Real / Radical / Psychological: The Collection on Display September 9, 2016–January 15, 2017 In celebration of the first ten years in the Fumihiko Maki-designed facilities, the Kemper Art Museum presents Real / Radical / Psychological: The Collection on Display, the largest selection of the permanent collection ever shown. As one of the oldest university museums in the nation, the Museum has been acquiring significant art of the time since its founding in 1881. This building-wide installation is arranged chronologically, offering a journey that starts at the dawn of the 19th century and continues through the history of modern and contemporary art. Featured are familiar favorites and works rarely seen, long-held artworks and recent acquisitions, including leading examples of avant-garde innovations in figurative, conceptual, and abstract art. Among the works on view in a variety of mediums are paintings—such as works by Jackson Pollock and Thomas Eakins—that have recently been restored through a major conservation project. The installation is divided into three galleries: “The Long Nineteenth Century,” “Modernism and the Twentieth Century,” and “Contemporary Moments.” Throughout each of the galleries, the leitmotifs real, radical, and psychological illuminate how these notions have guided artistic production over the years. ABOVE: Thomas Eakins (American, 1844–1916), Portrait of Professor W. D. Marks, 1886. Oil on canvas, 76 3/8 x 54 1/8". Mildred Lane Kemper Art Museum, Washington University in St. Louis. University purchase, Léon Lhermitte (French, 1844–1925), Yeatman Fund, 1936. La moisson (The Harvest), 1883. Oil on canvas, 92 x 104 5/16". Mildred Lane Kemper Art RIGHT: Jackson Pollock Museum, Washington University in St. Louis. (American, 1912–1956), “The Long Nineteenth Century,” presented University purchase, Parsons Fund, 1912. Sleeping Effort, 1953. Oil and enamel on canvas, 49 7/8 x 76". salon style, reflects the richness of the Museum’s collection Mildred Lane Kemper Art Museum, Washington University of landscapes, genre painting, and portraiture, along with a in St. Louis. University rotating display from the vast collection of works on paper. purchase, Bixby Fund, 1954. © 2016 Pollock-Krasner From the time of the American and French revolutions of the Foundation / Artists Rights late 18th century to the start of World War I in 1914, this period Society (ARS), New York. saw the Enlightenment-era emphasis on rationality give way to Romanticism, the emergence of various forms of realism, and the rise of landscape as a newly independent genre. 4 FYI FALL 2016 kemperartmuseum.wustl.edu 5 ON VIEW Real / Radical / Psychological: The Collection on Display continued “Modernism and the Twentieth Century” presents art from the early 20th century through the postwar years—a period that includes some of the collection’s most important works of European and American modernism. With the RIGHT: Tim Rollins (American, b. 1955) and Kids of Survival (K.O.S.) (American realities of modern progress and the brutality of two devastating artists’ collective, formed 1982), The world wars as their context, artists visualized the human condition Scarlet Letter—The Prison Door (After Nathanial Hawthorne), 1992–93. through radical new forms of abstraction and semiabstraction, Acrylic and book pages mounted on including Expressionism, Cubism, Constructivism, Surrealism, and linen, 54 1/8 x 77 3/16 x 1 3/4". Mildred Lane Kemper Art Museum, Washington Abstract Expressionism. University in St. Louis. University purchase, Bixby Fund, 1993. “Contemporary Moments” features works by an international array of artists from the late 1960s to today. OPENING & 10TH Selections include politically charged works that incorporate ANNIVERSARY CELEBRATION newly emerging art forms employing performance, language, Friday, September 9, 6–10p photography, and video, to more recent art that addresses the impact of the digital age and the paradoxes of global mobility and GALLERY TALKS virtual technologies. The variety of mediums and artistic practices Saturday, September 10, 1p in this section reflects the shift away from modernist paradigms toward a material and conceptual pluralism. “Modernism and the Twentieth Century” Sabine Eckmann, William T. Kemper Director and Chief Curator Support is provided by the William T. Kemper Foundation, Elissa and Paul Cahn, Nancy and Thursday, October 27, 5p Ken Kranzberg, the Hortense Lewin Art Fund, and members of the Mildred Lane Kemper Art Museum. The installation is further supported by generous loans from Bunny and Charles “The Long Nineteenth Century” Burson, the family of William N. Eisendrath Jr., Diane DeMell Jacobsen and the Thomas H. and Allison Unruh, associate curator Pablo Picasso (Spanish, 1881–1973), Les femmes d’Alger (Women of Algiers), Variation N, Diane DeMell Jacobsen PhD Foundation, and Helen Kornblum. 1955. Oil on canvas, 45 x 57 5/8". Mildred Lane Kemper Art Museum, Washington University Thursday, November 10, 5p in St. Louis. University purchase, Steinberg Fund, 1960. © 2016 Estate of Pablo Picasso / The installation is curated by Sabine Eckmann, William T. Kemper Director and Chief Curator; Artists Rights Society (ARS), New York.
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