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, , 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 (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 / The installation is curated by Sabine Eckmann, William T. Kemper Director and Chief Curator; Artists Rights Society (ARS), New York. Meredith Malone, associate curator; and Allison Unruh, associate curator. “Contemporary Moments” Meredith Malone, associate curator FEATURED 6 FYI FALL 2016 EVENTS 7 COLLECTION

New Acquisitions This spring several exciting gifts and purchases of artworks, Among the other important works added to the ranging from examples of early photographic practices to collection is Powerhouse (1943), a painting by Charles contemporary kinetic art, strengthened the Museum’s permanent Sheeler, a central figure in Precisionism. Gifted by collection. The Museum’s collection of photography in particular Lawrence (BA66) and Jane Kozuszek, this small yet saw a number of important additions. These include a large significant work enhances the Museum’s collection of gift—from Robert Frerck (BA66), his wife Laurie Wilson, and their works by early proponents of modernism in the United children—of 19th- and 20th-century photographs encompassing States. Pae White’s cascading mobile Noisy Neighbors a broad array of photographic techniques and processes, including (2014), a gift from Kim and Bruce Olson, advances ambrotypes, daguerreotypes, and tintypes from the 1870s and the Museum’s collection of sculpture and kinetic art.

John Beasley Greene (American, 1832–1856), 1880s, as well as examples of cartes de visite, studio cards, and Made with brightly colored cut pieces of paper and Temple of Kom-Ombos, Haute Egypte, 1854. stereocards, many reaching back to the 1850–70s. The gift marks mirrors strung on aluminum thread, the dynamic mobile Salted paper print. Mildred Lane Kemper Art Museum, Washington University in St. Louis. a major addition to the Museum’s burgeoning holdings of early activates the surrounding space in which it is installed Gift of Laurie Wilson, Robert Frerck, and family, through movement and reflected light. 2015. photography and will be an essential tool for teaching.

This historical collection is complemented by a number of contemporary photographs, including Ann Hamilton’s the choice a salamander gave to Hobson (1987), an early example of the artist’s engagement with performance and multimedia art. A gift from Elissa Cahn, it joins several works by Hamilton already in the collection. Manet (1990), an early work by Louise Lawler—a key practitioner associated with the Pictures Generation and institutional critique—was purchased with funds from Helen Kornblum and the Bixby Fund. Lawler’s photograph presents a carefully constructed view of two 19th-century paintings by Édouard Manet on display at the Isabella Stewart Gardner Museum; through a strategic process of cropping, the artist reminds her audience that how the owner of an artwork decides to display it contributes to its meaning. Two portraits by Shirin Neshat—Ghada and Sayed from her series Our House Is on Fire (2013)—explore Egypt after the Arab Spring and expand the Museum’s ability to contribute to the dialogue on contemporary art through a more global perspective. The project was a result of a production grant offered by the Robert Rauschenberg Foundation,

which distributed pairs of these photographs to thirty-three US Louise Lawler (American, b. 1947), Manet, 1990. Pae White (American, b. 1963), Noisy Neighbors, and Middle Eastern colleges and universities. Black-and-white photograph, 5/5, 15 x 21 7/8". 2014. Mirrors, aluminum thread, painted paper, Mildred Lane Kemper Art Museum, Washington and vinyl, 39 3/8 x 48 7/16 x 48 7/16". Mildred Lane Shirin Neshat (Iranian, b. 1957), Sayed, from University in St. Louis. University purchase with Kemper Art Museum, Washington University in the series Our House Is on Fire, 2013. Digital funds from Helen Kornblum and Bixby Fund, 2016. St. Louis. Gift of Kim and Bruce Olson, 2015. pigment print, 9/50, 23 15/16 x 15 9/16". Mildred Lane Kemper Art Museum, Washington University in St. Louis. Gift of the Robert Rauschenberg Foundation, 2016.

8 FYI FALL 2016 kemperartmuseum.wustl.edu 9 TEN2006–2016 YEARS BY THE NUMBERS

8,280 200 K-12 student visitors student docents 500events 42 community and programs education partnerships 799new artworks 289,062 101 visitors special exhibitions

80% increase in staff 230 loaned artworks 26 scholarly publications 500 WashU class visits 34,700 Twitter followers 10 FYI FALL 2016 kemperartmuseum.wustl.edu 11 CALENDAR FALL 2016 SEPTEMBER 9 Fri 6–10p OPENING & 10TH ANNIVERSARY CELEBRATION OCTOBER Real / Radical / Psychological: 1 Sat 10a WOMEN AND THE KEMPER The Collection on Display SPECIAL EVENT 18 Tue WOMEN AND THE KEMPER Sun Smith-Foret LUNCHEON AND ANNUAL MEETING 10 Sat 1p GALLERY TALK Studio Visit 11a program “Modernism and the Twentieth Century” 11:45a luncheon and annual meeting Real / Radical / Psychological: 4 Tue–6 Thu 7p FILM SERIES The Collection on Display Tivoli Theatre, 6350 Delmar 19 Wed LECTURE Sabine Eckmann, William T. Kemper 6p reception, Kemper Art Museum Director and Chief Curator 4 Tue Pollock (2000), directed by Ed Harris 6:30p lecture, Steinberg Auditorium Inaugural Women and the 13 Tue 11a WOMEN AND THE KEMPER TOUR Moulin Rouge (1952), directed by Kemper Lecture Saint Louis Art Museum 5 Wed John Huston Rio de Janeiro and the World: Lisa Çakmak, assistant curator of ancient Marc Ferrez, Photographic Mobility, art, Saint Louis Art Museum 6 Thu The Mystery of Picasso (1956), directed and International Modernity Amy Clark, senior research assistant in the Shelley Rice, Arts Professor in the Marc Ferrez (Brazilian, 1843–1923), by Henri-Georges Clouzot Avenida Central, c. 1910. Gelatin silver arts of Africa, Oceania, and the Americas, Department of Photography & Imaging print, 11 13/16 x 15 3/4". Instituto Moreira Saint Louis Art Museum 13 Thu 5p SPOTLIGHT TALK and Department of Art History at Salles, Brazil. Paul Gauguin’s Te Atua (The Gods) (1899) New York University 15 Thu 5p SPOTLIGHT TALK Elizabeth C. Childs, Etta and Mark Carrie Mae Weems’s Untitled Steinberg Professor of Art History and 24 Mon 5p PERFORMANCE (Colored People Grid) (2009–10) chair, Department of Art History & Art Inspiring Music: New Morse Code Allison Unruh, associate curator Archaeology in Arts & Sciences 27 Thu 5p GALLERY TALK 26 Mon LECTURE “The Long Nineteenth Century” NOVEMBER 6p reception, Kemper Art Museum Real / Radical / Psychological: 4 Fri 10a WOMEN AND THE KEMPER 6:30p lecture, Steinberg Auditorium The Collection on Display SPECIAL EVENT DECEMBER Allison Unruh, associate curator Harris Armstrong Fund Lecture Private Tour of Kim Olson’s Collection 1 Thu 5p SPOTLIGHT TALK The Visuality of Space and the Space Limited number of participants t 29 Sa FAMILY FUN SATURDAY Stuart Davis’s Flying Carpet (1942) of Vision: On Mies van der Rohe’s Jennifer Padgett, PhD candidate, 11a–3p Interactive art-making experiences Photomontages 7 Mon ART ON CAMPUS LECTURE Department of Art History & Archaeology for all ages Swamp Creature Friends Martino Stierli, The Philip Johnson Chief in Arts & Sciences Curator of Architecture and Design, Tom Friedman (BFA88), artist

The Museum of Modern Art, New York 6p reception, Kemper Art Museum 8 Thu 6–8p EXCLUSIVE MEMBER EVENING Theo van Doesburg (Dutch, 1883–1931), 6:30p lecture, Steinberg Auditorium Compositie VII: de drie Gratiën (Composition VII: Jazz, Jackson Pollock, and Wine & 27 Tue 6p PANEL DISCUSSION The Three Graces), 1917. Oil on canvas, 33 1/2 x Beer Tasting Thinking the Museum: Exhibition Design 33 1/2". Mildred Lane Kemper Art Museum, 10 Thu 5p GALLERY TALK Washington University in St. Louis. University 6:30p program “Contemporary Moments” Frank Escher and Ravi GuneWardena, purchase, Yeatman Fund, 1947. Allison Taylor, head of education and Real / Radical / Psychological: Escher GuneWardena Architecture, community engagement Los Angeles The Collection on Display Catherine Opie (American, b. 1961), Trash, 1994. C-print, Matt Maxfield, manager of beverage Meredith Malone, associate curator 2 / 8, 60 x 30". Mildred Lane Kemper Art Museum, Angela Pang, visiting assistant professor, alcohol procurement, Schnuck Markets Washington University in St. Louis. University purchase, Sam Fox School Bixby Fund, and with funds from Helen Kornblum, 2012. Jan Ulmer, visiting professor, Sam Fox School All events are free and held at the Museum unless otherwise indicated. Moderated by Sabine Eckmann, William T. Kemper Director and Chief Curator For full event descriptions, visit kemperartmuseum.wustl.edu/calendar. Offsite Event Remember to Register Member Event 12 FYI FALL 2016 kemperartmuseum.wustl.edu 13 SPOTLIGHT SERIES

Carrie Mae Weems, Untitled (Colored People Grid) (2009–10) Thursday, September 15 | 5p Allison Unruh, associate curator

Carrie Mae Weems’s Untitled (Colored People Grid) Spotlights Catalog (2009–10) is a vibrant large-scale work in which the In conjunction with the ten-year artist presents eleven close-up photographs of African celebration, the Kemper Art American adolescents, tinted in various hues and Museum has published Spotlights: interspersed with panels of monochromatic colored Collected by the Mildred Lane Kemper Art Museum, which paper. The title’s reference to skin color, together with the assembles 46 monographic essays grid’s spectrum of colors, suggests the complication of a that explore preeminent and lesser- singular notion of “blackness” or other such label. While known artworks by artists ranging the structure of this work calls to mind earlier modernist from Albrecht Dürer, Rembrandt uses of the grid, such as Minimalist artists’ seemingly van Rijn, Georges Braque, and impersonal formalism, Weems’s use of portraits counters Willem de Kooning to Olafur any allusion to pure abstraction by suggesting personal Eliasson and Carrie Mae Weems. and social dimensions. This talk will explore how Weems Both established and emerging Carrie Mae Weems (American, b. 1953), Untitled (Colored People scholars offer an array of Grid), 2009–10. 31 screen-printed papers and 11 inkjet prints, engages art historical references while also appropriating Stuart Davis, Flying Carpet (1942) Ap 2/2, 87 7/8 x 75 3/16" (overall). Mildred Lane Kemper Art and recontextualizing photographs from her earlier perspectives on an equally diverse Museum, Washington University in St. Louis. University purchase, range of artworks to illuminate one Bixby Fund, and with funds from Bunny and Charles Burson, Helen Colored People series (1987–90). Thursday, December 1 | 5p Kornblum, Kim and Bruce Olson, and Barbara Eagleton, 2014. of the most distinguished university Jennifer Padgett, PhD candidate, Department of Art History & art collections in the United States. Archaeology in Arts & Sciences

Paul Gauguin, Te Atua (The Gods) (1899) In 1941 the Museum of Modern Art (MoMA) in New York invited 272 pages, 75 color plates, $40. several American artists to create rug designs for an exhibition Available in the Museum shop and online at press.uchicago.edu. Thursday, October 13 | 5p highlighting modern experimentation in the textile medium. The Elizabeth C. Childs, Etta and Mark Steinberg Professor of Art American painter Stuart Davis seized upon the opportunity; his History and chair, Department of Art History & Archaeology in resulting design for Flying Carpet (1942), a seven- by ten-foot About the Arts & Sciences hand-tufted rug, plays upon the notion of aerial vision by conveying the sensation of a landscape seen from a plane. Expressing the Spotlight Series Paul Gauguin was a highly experimental artist who contributed thrill of a new perspective made possible by the technological In addition to essays by curators, to an avant-garde revival of woodcut prints in the 1890s. He advances of air travel, Davis’s abstracted forms are a fittingly educators, and graduate valued both the process of carving directly into blocks as well as modern take on a modern subject. MoMA enthusiastically students, the Spotlight Series the bold and expressive effects of the medium. This print comes features gallery talks by the promoted Davis’s design and encouraged viewers to embrace from a series of fourteen scenes created in the last years of his authors in order to provide abstraction, touting its suitability to domestic settings and final residence in Tahiti. The image, which may be the signature visitors the opportunity to look the spaces of everyday life. This talk will explore the history of print for the series, introduces several of the compelling themes closely and engage in meaningful the rug’s design, production, and exhibition, focusing on the of Gauguin’s art: the subjects of gods, veneration, and the enigmas dialogue about the works. Paul Gauguin (French, 1848–1903), Te Atua (The collaboration between Davis, MoMA, and the rug manufacturer, of religious symbolism. This talk will explore the image’s rich Join us for deeper analysis Gods), 1899. Woodcut, 14 3/4 x 12 13/16". Mildred V’Soske of Grand Rapids, Michigan. and stimulating conversation. fusion of Christian, Polynesian, and Buddhist references, and will Lane Kemper Art Museum, Washington University in St. Louis. University purchase, Charles H. Yalem The most recent Spotlight consider Gauguin’s modernist concerns, including his interrogation Art Fund, 2001. essay can be found at of the language of visual narrative and his interest in inviting a ABOVE: Stuart Davis (American, 1892–1964), Flying Carpet, 1942. Dyed, woven wool, 2/3, 81 3/4 x 117 x 7/16". Mildred kemperartmuseum.wustl.edu/ participatory experience for his viewers. Lane Kemper Art Museum, Washington University in St. Louis. spotlightessay. University purchase, Kende Sale Fund, 1946. © Estate of Stuart Davis / Licensed by VAGA, New York.

14 FYI FALL 2016 kemperartmuseum.wustl.edu 15 FEATURED ART ON CAMPUS NEWS EVENTS

ART ON CAMPUS LECTURE Created in 2010, the Art on Campus program commissions, 2016 SUMMER INTERN Erika Rodriguez Monday, collects, and integrates works of art as site-specific installations November 7 for indoor and outdoor spaces on campus. From lightboxes to The education department thanks Erika Rodriguez, a third-year 6p reception, photography, from mosaic tiles to stainless steel, a wide range PhD candidate in comparative literature, who served as the Intern Kemper Art Museum of materials and artistic practices is reflected in these works. to Promote and Encourage Diversity in the Museum Profession 6:30p lecture, Each relates to its immediate environment, however—whether this summer. Inaugurated in summer 2014, the internship gives Steinberg responding to the scholarly mission of nearby buildings or to select students from a diversity of backgrounds an opportunity Auditorium the utilitarian purpose of the space itself—and transforms the to learn firsthand about a variety of museum careers. Rodriguez’s Tom Friedman experience of the site. previous work as a Museum docent and her dissertation research on the proliferation and circulation of images in the late 19th All Art on Campus commissions are accessioned into the century were a strong foundation for her internship. CELL PHONE TOUR Kemper Art Museum’s permanent collection. The four works Put on your walking shoes and installed on the University’s Danforth Campus since the program’s During the six-week immersive experience, Rodriguez wrote get out your cell phone for a self- inception—Ainsa I (2013) by Jaume Plensa, East Meets West articles for this newsletter, helped evaluate and reimagine the guided tour of Art on Campus (2014) by Spencer Finch, Places (2015) by Ays‚e Erkmen, and docent program, researched museum programs for the visually and other works in the collection. O N E E V E R Y O N E • St. Louis (2015) by Ann Hamilton—were impaired, and assisted collections management with the Featuring artworks in and around joined by two new commissions completed this summer. In conservation of the Museum’s outdoor sculptures. the Museum and throughout the addition to Tom Friedman’s Swamp Creature Friends, located on University’s Danforth Campus, the tour provides a 2–3 minute the University’s residential campus and mentioned below, look for Katharina Grosse’s colorful installation in the new Gary M. Sumers audio recording about each NEW STAFF Mark Ryan work’s creator and art historical Recreation Center this fall. context. A campus map, list of This spring the Museum welcomed Mark Ryan as its new assistant artworks, and instructions on director for collections and exhibitions. With twenty years of how to get started are available at Tom Friedman’s Swamp Creature Friends experience in registration and collections management, Ryan most kemperartmuseum.wustl.edu/ recently served as director of collections and operations for the celltour. The most recent Art on Campus work, Swamp Creature Friends, Plains Art Museum in Fargo, North Dakota, and as director of the is a new sculpture by internationally recognized artist Tom Curatorial Facility Certification Program at the Texas Historical Friedman (BFA88). Installed this summer on the South 40, the Society. Here he works with staff to oversee day-to-day collections main residential area on the Danforth Campus, it reflects the blend care and the development of the exhibition program. Ryan will also of humor, surprise, and everyday life that Friedman’s works are play a key role in the Museum’s upcoming expansion of the east end known for. The life-size artwork is made of a continuous loop of of the Danforth Campus, scheduled to begin in the summer of 2017. green painted steel and depicts three “swamp creatures” side by side, with arms positioned so that students and visitors are invited to join their embrace. The work’s title affectionately references the nickname students have given to the green space adjacent NEW STAFF Ida McCall to the site, and its form signals the interdependence and lasting The Museum is pleased to announce that Ida McCall joined connections of student friendships. us as the manager of marketing, communications, and visitor services this August. Previously she served as the PR/marketing manager for the Contemporary Art Museum St. Louis and the web and communications editor at Winterthur Museum, Garden Tom Friedman (American, b. 1965) Swamp Creature Friends, 2016. Powder-coated steel, 77 x 102 x 23". & Library in Delaware, among other positions. At the Kemper Art Mildred Lane Kemper Art Museum, Washington University in St. Louis. University purchase, Art on Museum she is responsible for producing all marketing materials, Campus fund, Helen F. Umrath House, 2016. maintaining the Museum’s online presence, directing all advertising efforts, and overseeing visitor services and events. 16 FYI FALL 2016 kemperartmuseum.wustl.edu 17 EDUCATION

University students experience World War I: War of Images, Images of War, on view fall 2015–spring 2016. Celebrating Collaboration Think Art Today Over the past ten years, collaboration has been at the heart of As the Kemper Art Museum the education department’s mission to promote creative inquiry honors its past and looks and critical thinking about the visual arts. Partnering with a wide forward to the future, we range of organizations, such as the Anti-Defamation League, highlight our distinctive role EducationPlus, and the 48 Hour Film Project STL, education staff as a university museum with foster cross-disciplinary conversations, helping make the art on the tagline Think Art Today. By view accessible and meaningful to an array of new audiences from generating new scholarship on campus and beyond. and exhibitions as well as preserving and developing the FIVE YEARS OF KARE Museum collection, we strive One of the Museum’s most enduring to inspire meaningful inquiry and successful collaborations, into the connections between Kemper Art Reaches Everyone (KARE) art and contemporary life. was launched in 2011 for people Moving into the next decade with Alzheimer’s and other forms EXPANDING UNIVERSITY ENGAGEMENT and beyond, we invite audiences of dementia and their caregivers. As a university museum, one of the Kemper Art Museum’s most on campus, in the local Focused on creating a multisensory significant collaborations is with faculty and students. While community, across the nation, experience, KARE programs include the Museum regularly partners with campus organizations and and worldwide to join us in the gallery discussions, music and programs such as Writing 1, the Freshman Reading Program, and galleries to think art today! movement, a tactile element, and the the School of Medicine, Rochelle Caruthers, the Museum’s first chance for participants to make their university academic programs coordinator, has been working own art. KARE gives those with brain since 2015 to deepen curricular connections across campus. From disorders a chance to use and expand specialized exhibition tours to study sessions featuring works from their capabilities as they connect art the permanent collection, each class, group, or faculty member to memory and imagination. enjoys customized access. KARE participants make their own art after viewing the Museum’s exhibitions. To develop this popular program, which is held once a month, In the past academic year, some 165 University classes have Museum staff tapped into the resources of both the University and visited the Museum, exploring subject matter as wide ranging as the wider community. Lynn Hamilton, founder of Maturity and Its comparative literature, engineering, history, psychology, classics, Muse—a local organization that promotes positive aging through and social work. Kurt Beals, assistant professor of German, the arts—and a longtime member of the Museum, promotes KARE brought his Advanced German students for a Study Room visit and recruits participants; Brian Carpenter, associate professor and German-language tour of the permanent collection in fall of psychology, helped develop the original curriculum, still in use 2015. “We were discussing Expressionist poetry, so looking at Share what’s making you today; and local dancer and choreographer Alice Bloch created and Expressionist visual works was a perfect complement,” he said. #ThinkArtToday. teaches the movement and breathing component. The program “It gives the students a more vivid impression of the key themes… continues to thrive thanks to this group effort as well as the a more immediate connection to the works.” contributions of University psychology students, who regularly serve as volunteers, and community artist Maria Ojascastro, who @kemperartmuseum now leads the hands-on art activities. Visit kemperartmuseum.wustl.edu/tours for information on scheduling a customized visit to the Museum. 18 FYI FALL 2016 kemperartmuseum.wustl.edu 19 MEMBERSHIP WOMEN AND THE FEATURED KEMPER EVENTS

Membership is essential to furthering Women and the Kemper is a WOMEN AND THE KEMPER the Kemper Art Museum’s legacy of special interest membership TOUR group, open to all members Tuesday, September 13 exceptional collections, exhibitions, of the Museum, that offers an 11a, Saint Louis Art Museum programs, and scholarship. The generous support of opportunity to meet new people Lisa Çakmak, assistant curator of our members helps make it possible for the Museum to remain free and and cultivate friendships, ancient art, Saint Louis Art Museum open to the public. Members also enjoy a host of benefits and oppor- alongside a deeper engagement Amy Clark, senior research assistant tunities for engagement, including exclusive events and receptions, with the Museum through social in the arts of Africa, Oceania, and the programs, and special discounts. and educational events. Americas, Saint Louis Art Museum Join the Museum or renew your membership FYI recently sat down with WOMEN AND THE KEMPER at kemperartmuseum.wustl.edu/support. current Women and the Kemper STUDIO VISIT president Kathryn Frost and Saturday, October 1 Lynn Hamilton, a long-time 10a, Sun Smith-Foret’s studio supporting member who will become president of the group WOMEN AND THE KEMPER in winter 2018, to get their LUNCHEON AND ANNUAL perspective on the strengths MEETING and significance of the group. Tuesday, October 18 “I look forward to seeing the 11a program Museum continue to reach out 11:45a luncheon and annual meeting and make art appreciation accessible to Washington WOMEN AND THE KEMPER University and the community,” SPECIAL EVENT said Frost. “I hope that Women Private Tour of Kim Olson’s Collection and the Kemper members Friday, November 4 continue to share their love 10a, Kim Olson’s home of the Museum with an ever- expanding group of people.” EXCLUSIVE MEMBER EVENING Jazz, Jackson Pollock, and Wine & Hamilton expressed her Beer Tasting enjoyment of the group’s events that support student Thursday, December 8 artists on campus and develop 6–8p | 6:30p program relationships with the St. Louis Allison Taylor, head of education and art community. “We germinate community engagement camaraderie when we discuss Matt Maxfield, manager of beverage TOP: JoAnn Sanditz, Joni Karandjeff, Kathryn ABOVE: Women and the Kemper members visit alcohol procurement, Schnuck art history and understand Frost, Allison Taylor, Freida Wheaton, and Lynn Marian Steen’s studio. Markets the present relevance of an Hamilton at the spring 2016 MFA Open Studios. Museum members and MFA graduates enjoy the member preview of the summer 2016 artwork,” said Hamilton. Registration required. Call 314.935.7382 exhibition opening. or email [email protected] to Learn more at register or for more information. kemperartmuseum.wustl.edu/WAK. For a complete list of events, visit 20 FYI FALL 2016 kemperartmuseum.wustl.edu 21 NONPROFIT ORG. U.S. POSTAGE PAID ST. LOUIS, MO PERMIT NO. 2535 Mildred Lane Kemper Art Museum Campus Box 1214 One Brookings Drive St. Louis, MO 63130

Hours MISSION 11a–5p Daily, except Tuesdays The Mildred Lane Kemper Art Museum, part of the Sam Fox 11a–8p First Friday of the month School of Design & Visual Arts at Washington University in Closed Tuesdays, University holidays St. Louis, is committed to preserving and developing its art collection and continuing its legacy of collecting significant art Admission of the time; providing excellence in art historical scholarship, Admission to the Museum is always free. education, and exhibition; inspiring social and intellectual Membership inquiry into the connections between art and contemporary life; Support the Museum—become a member! and engaging audiences on campus, in the local community, 314.935.7382 | kemperartmuseum.wustl.edu/support across the nation, and worldwide.

Tours Newman Money Museum For more information or to schedule a free docent-led tour, The Newman Money Museum, housed on the lower level of contact 314.935.5624 or [email protected]. the Museum building, features items from the numismatics Contact collection of Eric P. Newman of St. Louis. 314.935.9595 314.935.4523 | kemperartmuseum.wustl.edu [email protected]

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Spring Exhibitions Whitaker Brauer Open February 10, 2017

Rosalyn Drexler: Who Does She Think She Is? P SKINKER BLVD Barney A. Ebsworth Gallery HOYT DRIVE HOYT Organized by the Rose Art Museum, Brandeis University, BROOKINGS DRIVE LINDELL BLVD

curated at the Kemper Art Museum by Allison Unruh, Visitor Parking associate curator Mildred FOREST Lane P P Kemper PARK Art Museum Spectacle and Leisure in Paris: Walker From Degas to Picasso Givens Steinberg Bixby Garen Gallery TO US 64/40TO Curated by Elizabeth C. Childs, Etta and Mark Steinberg FORSYTH BLVD Professor of Art History and chair of the Department of Art History & Archaeology in Arts & Sciences LOCATION AND PARKING (Re)presenting Heroes, Defining Virtues The Museum is located directly west of Forest Park on the Danforth Teaching Gallery Campus of Washington University in St. Louis. Metered parking on Curated by Susan Ludi Blevins, PhD, postdoctoral campus is $1/hour during the week and is free after 6p on Fridays teaching fellow, Department of Art History & Archaeology and on the weekends. The Museum is easily accessible from the in Arts & Sciences Skinker MetroLink Station; bike racks are also available.