NONPROFIT ORG. U.S. POSTAGE SPRING 2018 PAID ST. LOUIS, MO PERMIT NO. 2535 Mildred Lane Kemper Art Museum Campus Box 1214 One Brookings Drive St. Louis, MO 63130 FYI
Hours MISSION 11a–5p daily except Tuesdays and The Mildred Lane Kemper Art Museum, part of the Sam Fox University holidays School of Design & Visual Arts at Washington University in St. Louis, is committed to preserving and developing its art Admission collection and continuing its legacy of collecting significant art Admission to the Museum is always free. of the time; providing excellence in art historical scholarship, Membership education, and exhibition; inspiring social and intellectual Support the Museum—become a member! inquiry into the connections between art and contemporary life; 314.935.8243 | [email protected] and engaging audiences on campus, in the local community, across the nation, and worldwide. Tours For more information or to schedule a free docent-led tour, Newman Money Museum contact 314.935.5624 or [email protected]. 314.935.9595 Contact The Newman Money Museum, housed on the lower level of 314.935.4523 | kemperartmuseum.wustl.edu the Museum building, features items from the numismatics [email protected] collection of Eric P. Newman of St. Louis.
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SAVE THE DATE F EST A K KW
MAY 4, 2018 Whitaker rauer reen 2018 MFA Thesis Exhibition Opening ST U T E SK KE LVD SK KE LVD Museum Closing Party L DELL LVD
V S T LOCATION D - FF F EST Mildred A D A ED The Museum is located directly west of Forest Park Lane A K A K Kemper on the Danforth Campus of Washington University in Art Museum St. Louis and is accessible from the Skinker MetroLink Walker Station. For information on parking and access, visit kemperartmuseum.wustl.edu/directions. ivens Steinberg ixby T US 6 T COVER: Roy Lichtenstein (American, 1923–1997), Sandwich and Soda, from the portfolio X + X (Ten Works by Ten Painters), 1964. Screen print F S T LVD on clear plastic, 219 / 500, 20 x 24". Mildred Lane Kemper Art Museum, Washington University in St. Louis. University acquisition, 1970. © Estate of Roy Lichtenstein. CONTENTS DIRECTOR’S NOTE
Director’s Note 3 Looking west from the second floor of the Museum Curator Meredith Malone, the exhibition showcases 4 building, one has an impressive bird’s-eye view of the lesser-known areas of depth in the Museum’s holdings in Spring Exhibitions Postwar Prints transformation of the east end of Washington University’s preparation for the collection’s more prominent display in and Multiples: Danforth Campus. Our anticipation grows as we observe the expanded galleries. Barney A. Ebsworth Gallery 4 the dramatic changes occurring to the landscape, knowing Investigating For two related exhibitions we have collaborated with that construction on the Museum’s expansion and new the Collection Washington University’s Island Press to highlight additional Garen Gallery 6 facade will soon begin. It is truly thrilling to be part of the modern and contemporary prints in the collection. Island largest construction project in the history of the campus, Teaching Gallery 7 Press: Recent Prints, also on view in Ebsworth Gallery which includes not only the Museum expansion but also and curated by Malone, presents a diverse array of work the new Anabeth and John Weil Hall for the Sam Fox Calendar 8 by visiting artists working at the Press over the past School of Design & Visual Arts, Henry A. and Elvira H. decade. For the Museum’s Teaching Gallery, Lisa Bulawsky, New Acquisitions 10 Jubel Hall and James M. McKelvey, Sr. Hall for the School professor of art and director of Island Press, and Tom of Engineering & Applied Science, the Gary M. Sumers Reed, senior lecturer and master printer of Island Press, Spotlight Series 12 Welcome Center, the Craig and Nancy Schnuck Pavilion, have organized The New York Collection for Stockholm and Ann and Andrew Tisch Park. Education 13 Portfolio—thirty prints created in 1973 by some of the As we prepare for the upcoming expansion we are deeply most prominent American artists of the time. News 14 honored by the ongoing foundational support of the 5 On a different note, we have taken inspiration from the Kemper family as well as the tremendous support of Membership 15 Island Press: transformations on campus to present Transformative members and friends like you. This involvement has a Recent Prints Visions: Washington University’s East End, Then and Now, a profound impact on our ability to mount thought-provoking historical perspective on the architectural evolution of this exhibitions, diversify our understanding of the collection, area. On view in the Garen Gallery, this exhibition brings and host engaging and relevant programs—all aspects together a selection of drawings, photographs, and models of our work that will continue to evolve as we grow. This is that help us look back as we move forward. The exhibition also an important moment to honor Washington University is curated by Leslie Markle, curator for public art, together alumnus and benefactor Eric P. Newman, who passed with James Kolker, University architect and associate vice away in fall 2017. He contributed much to the University, chancellor, and Eric Mumford, Rebecca and John Voyles including sharing his important numismatics collection, Professor of Architecture in the Sam Fox School. which has been on display in the Newman Money Museum on the lower level of the Kemper Art Museum since 2006. Indeed, as we look ahead, be sure to mark your calendars for the opening reception on May 4 for the 2018 MFA We also want to recognize the generosity of Arthur and Thesis Exhibition, which will also be a celebration marking Sheila Prensky for their gifts to the Museum over the years. the temporary closing of the Museum at the end of May. Three of our four spring exhibitions feature prints, many I hope you will join us for this final slate of exhibitions until of which are on view thanks to the Prenskys’ thoughtful we reopen in fall 2019. I look forward to seeing you in the contributions. galleries—or at the second-floor window. Postwar Prints and Multiples: Investigating the Collection presents printed and editioned artworks by leading figures Transformative Visions: in European and American abstraction, Pop and Op art, Washington University’s and Conceptual art from 1945 through the 1970s. On view Sabine Eckmann, PhD East End, Then and Now 6 in Barney A. Ebsworth Gallery and curated by Associate William T. Kemper Director and Chief Curator OPPOSITE, CLOCKWISE FROM TOP: Robert Breer (American, 1926–2011), Untitled, from the portfolio Frank Stella (American, b. 1936), Black Adder, 1968. Lithograph, 34 / 100, The New York Collection for Stockholm, 1973. Lithograph, 48 / 300, 9 x 12". 16 1/4 x 28 7/8". Mildred Lane Kemper Art Museum, Washington University Mildred Lane Kemper Art Museum, Washington University in St. Louis. in St. Louis. University purchase, 1969. © 2017 Frank Stella / Artists Rights Gift of Arthur and Sheila Prensky, 2004. Society (ARS), New York. The New York Collection View east through Brookings Hall archway, c. 1904. Washington for Stockholm Portfolio James Siena (American, b. 1957), Underdog (one), 2013. Relief print (ed. 10), University Photographic Services Collection, University Archives, 7 82 x 57 1/2". Courtesy of Island Press. Washington University Libraries. FYI SPRING 2018 kemperartmuseum.wustl.edu 3 BARNEY A. EBSWORTH GALLERY
Postwar Prints and Multiples: Investigating the Collection Island Press: Recent Prints February 2–April 16, 2018 February 2–April 16, 2018
LEFT: S.M.S. No. 4, 1968. Portfolio of thirteen multiples (ed. 2000), various dimensions. Experimentation and collaboration have Published by The Letter Edged in Black Press, New York. Mildred Lane Kemper Art Museum, been defining featuresof Washington University’s Island Washington University in St. Louis. University Press since its founding in 1978. At the Press, leading contemporary artists purchase, 1990. explore the possibilities of printmaking—often for the first time—working closely with the master printer as well as students and faculty of the Sam Fox School of Design & Visual Arts. Island Press: Recent Prints showcases artworks made at the Press since the Museum’s 2011 exhibition Island Press: Three Decades of Printmaking. This current presentation extends this season’s exploration of prints and multiples to the present day, highlighting an array of techniques and subject matter within contemporary printmaking.
Artist Trenton Doyle Hancock, for instance, explores personal history through silkscreen, photogravure, lithography, and etching in 548 First Street NE (2012), a portfolio based on childhood memories of his grandmother’s house. In fall 2014, Shaun O’Dell worked at the confluence of the Mississippi and Missouri rivers, Cahokia Mounds, the Gateway Arch, and other local sites, scratching and grinding printing plates against surfaces—and, in one instance, throwing a plate in the river—for his series of works that Shaun O’Dell (American, b. 1968), Make Black, reflect direct contact with the environment. Orly Genger’s silkscreened 2014. Etching and aquatint, 30 1/8 x 21 3/4". Courtesy of Island Press. In 1968 subscribers to the periodical S.M.S. prints Struggle, Squat, Robert Motherwell (American, 1915–1991), received in the mail every two months a Untitled, from the portfolio X + X (Ten Works by and Sprint (all 2017) Ten Painters), 1964. Screen print with collage, depict intricate piles thick package of small-scale artworks. In 219 / 500, 24 x 20". Mildred Lane Kemper Art Museum, Washington University in St. Louis. of sinewy appendages one bundle, a folded paper hat by Roy Lichtenstein could be found next to a University acquisition, 1970. from disassembled burnt bow tie by Lil Picard. In another, photocollages by Marcia Herscovitz action-figures, bearing were enclosed with an audio recording by Marcel Duchamp. Organized by an oblique relationship the painter and art dealer William Copley, S.M.S.—short for “Shit Must to the monumental Stop”—was designed to encompass a broad scope of participants and media. installations of Prominent and emerging artists as well as composers and writers, came knotted and knitted together to create a series that was part magazine, part fine art collection, industrial rope for and something altogether new. which she is known.
The complete S.M.S. portfolio will be on view this spring—along with more than fifty other artworks—in the exhibition Postwar Prints and Multiples: Investigating the Collection. Spanning the mid-1940s through the 1970s, the exhibition presents prints by leading 20th-century artists from Europe Trenton Doyle Hancock and the United States, including Ellsworth Kelly, Marisol, Joan Miró, Robert (American, b. 1974), Twitty, from the portfolio 548 First Motherwell, Claes Oldenburg, Pablo Picasso, Jackson Pollock, Anne Ryan, Street NE, 2012. Etching, Frank Stella, and Andy Warhol. Like the objects in the S.M.S. portfolio, these collage, and screen print, B.A.T. (ed. 14), 4 / 30, 24 x 19". works reveal how artists integrated the medium’s defining characteristics— Mildred Lane Kemper Art reproducibility, collaboration, and ease of circulation—into some of the most Museum, Washington University in St. Louis. inventive art practices of the postwar period. Conveying both the strength Gift of Island Press, 2014. and breadth of the Museum’s collection of postwar prints, the exhibition is conceived as a dynamic platform for new research, drawing attention to Anne Ryan (American, 1889–1954), Mobile, 1947. Orly Genger (American, b. 1979). Squat, 2017. Woodcut on black paper, 4 / 30, 18 x 12 1/2". Postwar Prints and Multiples: Investigating the Collection and Island Press: Recent Prints are under-studied areas of the collection through a series of public gallery talks. Screen print (ed. 12), 22 1/2 x 15". Courtesy of Mildred Lane Kemper Art Museum, Washington curated by Meredith Malone, associate curator. Support is provided by the William T. Kemper Island Press. University in St. Louis. Gift of Mr. and Mrs. Leslie Foundation and members of the Mildred Lane Kemper Art Museum. Grodsky, 1977.
Related gallery talks and lectures provide additional insights 4 FYI SPRING 2018 SAVE THE DATES throughout the season. View details in the calendar on pages 8–9. kemperartmuseum.wustl.edu 5 GAREN GALLERY TEACHING GALLERY The New York Collection for Transformative Visions: Washington University’s East End, Then and Now Stockholm Portfolio February 2–May 21, 2018 February 2–May 21, 2018 Located between the western edge of St. Louis’s renowned Forest by Jamieson and Spearl in 1925; Pritzker Prize winner Fumihiko Park and Washington University’s iconic Brookings Hall, the thirty-three acres Maki designed both modern and that make up the eastern end of the University’s Danforth Campus are a nexus of community and academia. Since its contemporary buildings (1960 and inception in the late 1800s, this area of campus has served as the grand entryway to the University. 2006); and the contemporary designs of RMJM Hillier for the School of Using the current transformation Engineering and Applied Science of the location as inspiration, (2007) reference Collegiate Gothic Transformative Visions: Washington buildings elsewhere on campus. University’s East End, Then and Now examines the rich history of Each of these examples represents architectural planning and design master plan visions that were for the east end. It showcases never fully realized but which left archival photographs and an indelible imprint on the area, architectural drawings, site plans, reflecting the complex relationship and models. The east end was between planning and actual design. imagined as a welcoming green space in both the original 1895 site plan by the architecture firm of Olmsted, Olmsted & Eliot and in the subsequent 1899 plan by Cope & Stewardson, the firm ultimately Dan Flavin, Ellsworth Kelly, Louise Nevelson, Claes Oldenburg, Nam chosen to design the new campus. June Paik, Robert Rauschenberg, and Richard Serra are just a few of the The area now includes an array preeminent artists who contributed prints to a portfolio entitled The New York of architectural expression. The Collection for Stockholm in 1973. Organized by the New York–based group Beaux-Arts Bixby Hall was designed Experiments in Art and Technology (E.A.T.), the portfolio was part of a larger Aerial photograph of Danforth Campus, looking west, 1927. Washington University Photographic effort to donate a collection of some of the most important American art of Services Collection, University Archives, Washington University Libraries. the 1960s, including Pop, Minimal, and Conceptual practices, to the Moderna Museet in Stockholm. To help raise the funds necessary for the donation, E.A.T. asked each of the thirty selected artists to create a print for a portfolio,
Campus Construction: Grading of Forsyth, which was sold in an edition of 300. The complete portfolio of prints is on view c. 1902. Photograph, 16 x 19 1/2". Washington at the Kemper Art Museum for the first time this spring in the Teaching Gallery University Architectural Plans, University Archives, Washington University Libraries. exhibition The New York Collection for Stockholm Portfolio.
LEFT: Cope & Stewardson (American Not only does the portfolio bring together the work of a distinguished architectural firm, 1885–1912), Brookings cross section of avant-garde artists, it also attests to the commitment of Hall section, 1899. Blueprint, 11 3/4 x 26". Washington University Architectural Plans, E.A.T. to promote interdisciplinary collaboration and to provide artists with University Archives, Washington University access to emerging technologies. In the spirit of cooperation embodied by Libraries. E.A.T.’s portfolio, students in “The Printed Image”—the course for which this exhibition was specifically designed—will partner with experts from a variety The exhibition is curated by Leslie Markle, of fields to create a research-based group portfolio. curator for public art; James Kolker, University architect and associate vice chancellor; and Eric Mumford, Rebecca and John Voyles This Teaching Gallery exhibition is curated by Lisa ABOVE: Larry Rivers (American, 1923– Professor of Architecture, Sam Fox School of Bulawsky, professor of art and director of Island Press, 2002), Untitled, from the portfolio Design & Visual Arts. The New York Collection for Stockholm, and Tom Reed, senior lecturer and master printer of 1973. Lithograph and screen print, Support is provided by the William T. Kemper Island Press, both in the Sam Fox School of Design & 48 / 300, 12 x 9". Mildred Lane Kemper Foundation, Elissa and Paul Cahn, and members Visual Arts, in conjunction with the course taught by Art Museum, Washington University of the Mildred Lane Kemper Art Museum. Reed titled “The Printed Image,” offered in spring 2018. in St. Louis. Gift of Arthur and Sheila Prensky, 2004.
Related gallery talks and lectures provide additional insights 6 FYI SPRING 2018 SAVE THE DATES throughout the season. View details in the calendar on pages 8–9. 7 SPRING 2018 CALENDAR 3 Sat GALLERY TALK 1p Transformative Visions: Washington JANUARY University’s East End, Then and Now MARCH APRIL 27 Sat MFA OPEN STUDIOS Leslie Markle, curator for public art; 8 Thu GALLERY TALK 4 Wed GALLERY TALK 4–8p Lewis Center, 721 Kingsland Avenue James Kolker, University architect 5p The New York Collection for 5p Postwar Prints and Multiples: Sponsored by Women and the Kemper and associate vice chancellor; and Stockholm Portfolio Investigating the Collection Eric Mumford, Rebecca and John Voyles Lisa Bulawsky, professor of art and director Meredith Malone, associate curator, Professor of Architecture, Sam Fox School of Island Press, and Tom Reed, senior with Victoria Barry, Kirsten Marples, of Design & Visual Arts lecturer and master printer of Island Press, and Lacy Murphy, graduate students, Sam Fox School of Design & Visual Arts Department of Art History & Archaeology FEBRUARY 8 Thu WOMEN AND THE KEMPER in Arts & Sciences 13 Tue WOMEN AND THE KEMPER 2 Fri EXHIBITION OPENING 5p reception, Kemper Art Museum 10a Architectural Tour: Houses Designed by 6–7p member preview 5:30p print demonstration, Bixby 200 5 Thu WOMEN AND THE KEMPER Isadore Shank 7–9p public reception 6:15p exhibition tour 4p Central West End Gallery Crawl and Register at Studio Visits Postwar Prints and Multiples: Island Press: Recent Prints kemperartmuseum.wustl.edu/ShankTour. Register at Investigating the Collection Demonstration and Tour Diane Victor, Arthur L. and Sheila Prensky 15 Thu DIRECTOR’S RECEPTION kemperartmuseum.wustl.edu/CWEcrawl. Island Press: Recent Prints Island Press Visiting Artist; Lisa Bulawsky, 6–8p Transformative Visions: Washington t 7 Sa WALKING TOUR Transformative Visions: Washington professor of art and director of Island University’s East End, Then and Now 11a Art on Campus University’s East End, Then and Now Press; and Tom Reed, senior lecturer and Invitations will be mailed to members at Leslie Markle, curator for public art Teaching Gallery: The New York Collection master printer of Island Press, Sam Fox the Director’s Committee level and above. Tour begins at Bauer Hall and will visit for Stockholm Portfolio School of Design & Visual Arts Register at all six Art on Campus works. Wear kemperartmuseum.wustl.edu/PressDemo. comfortable shoes and be prepared for walking. Weather permitting. 12 Mon MEMBER EVENT 6–8p For the Love of Art: 11 Wed LECTURE Members Valentine Party Yaacov Agam (Israeli, 6p reception, Kemper Art Museum b. 1928), Forme Lignes, 6:30p lecture, Steinberg Auditorium Free for members at the Friend level from the portfolio Suite 3, and above. 1974. Screen print, Maki, Metabolism, and Group Form: 135 / 140, 30 3/4 x 30 1/4". From Steinberg Hall to the Sam Fox Gift of Arthur and 15 Thu GALLERY TALK Sheila Prensky, 1984. School Campus, 1955–2004 © 2017 Artists Rights Eric Mumford, Rebecca and John Voyles 5p Postwar Prints and Multiples: Society (ARS), New York / Investigating the Collection and ADAGP, Paris. Professor of Architecture, Sam Fox School Island Press: Recent Prints of Design & Visual Arts 19 Mon CURATOR DIALOGUE Meredith Malone, associate curator; 5p Postwar Prints and Multiples: 26 Thu SPOTLIGHT TALK Lisa Bulawsky, professor of art and director Investigating the Collection 5p Prints from Speculum Romanae of Island Press; and Tom Reed, senior Meredith Malone, associate curator, and Magnificentiae (16th century) lecturer and master printer of Island Press, Gretchen Wagner, Andrew W. Mellon Erin Sutherland, curator of exhibitions, Sam Fox School of Design & Visual Arts Lisa Sanditz Fellow, Department of Prints, Drawings Archives and Special Collections, (American, b. 1973), and Photographs, Saint Louis Art Museum Space Invader, 2014. 26 Mon PERFORMANCE Washington University Libraries Etching, 51 x 40". 5p Art Inspiring Music: Real / Radical / Courtesy of 29 Thu SPOTLIGHT TALK t 28 Sa WOMEN AND THE KEMPER Island Press. Psychological 5p Eleanor Antin’s My Kingdom Is the 10a Art St. Louis: Maturity and Its Muse Tour A collaboration with the Department of Right Size (1974) Register at Music in Arts & Sciences and part of the Sophia Powers, postdoctoral teaching kemperartmuseum.wustl.edu/MuseTour. All events are free and held at the Museum unless St. Louis Symphony’s Symphony in Your otherwise indicated. For full event descriptions, fellow, Department of Art History & College program visit kemperartmuseum.wustl.edu/calendar. Archaeology in Arts & Sciences 8 FYI SPRING 2018 Offsite Event Member Event Remember to Register kemperartmuseum.wustl.edu 9 NEW ACQUISITIONS
Gifts from the estate of David W. Mesker and from Alison and John Ferring join two major A new acquisition by Allan McCollum, purchases of contemporary art, enhancing Collection of Ten Plaster Surrogates the depth and broadening the scope of the (1982/1991), introduces a key Museum’s permanent collection. conceptual position from the 1980s into the permanent collection. It consists of a series of plaster An important bequest from the estate of David W. Mesker of seventy-one forms that appear to be framed Japanese artworks includes more than fifty scroll paintings, ranging in date monochromatic paintings. To produce from the 17th to 20th centuries, the majority of which are from the Edo period these cast objects McCollum oversaw (1615–1858). The gift also includes a studio that functioned as a cross a group of ceramic works from the between an artist’s workshop and mid- to late 20th century, as well as a factory. Although all of the panels contemporary fans and a woodblock were executed in the same way, no print. It will serve as a resource for the two are exactly alike. The tension study of Japanese and Asian art and here between standardization and culture for faculty and students in individuality, between “real” and departments across campus. “representation,” sparks questions about the production, reception, and Allan McCollum (American, b. 1944), Collection of Ten Plaster Surrogates, 1982 / 1991. Enamel on Among the highlights of the collection Hydrostone, 41 3/4 x 71" overall. Mildred Lane Kemper Art Museum, Washington University in dissemination of art—and of anything St. Louis. University purchase, Parsons Fund, and with funds from William E. Fett, Mr. and Mrs. Robert is the delicate, expressive rendering of we collect and value. Shoenberg, Mr. and Mrs. Joseph Helman, University Acquisition Fund, Dr. and Mrs. Thomas Roberts, plum blossoms (right) by Ike Taiga, one American Academy of Arts and Letters, Alumni of the School of Fine Arts at Washington University, Philip Samuels, Morton D. May, Steven Schapiro, Stanley Tasker, Jean Reed Roberts, Jody Newman, of the most revered Japanese artists Aurelia Gerhard Schlapp, Mr. and Mrs. Nathan Cummings, Constance Wittcoff, Gwen Mills Hudson, of the 18th century. An example of Nanga painting, it reveals the influence of and Mrs. and Mrs. Harold G. Blatt, all by exchange, 2017. Chinese literati painting traditions on Japanese art. Another outstanding work, the scroll (above) by the noted painter and calligrapher Sakai Ho-itsu reflects the heritage of the 17th-century Rinpa school of painting, whose practitioners expressed a special interest in classical Japanese courtly themes. Amy Sillman is widely recognized as one of the most influential practitioners and thinkers in the field of ABOVE: Sakai Ho-itsu (Japanese, 1761–1828), RIGHT: Ike Taiga (Japanese, 1723–1776), Blooming contemporary painting. A robust, gestural painting, the Noblemen and Court Lady in Flower Cart, n.d. Ink Plum Tree, c. 1765. Ink and light color on silk, recently acquired Cart (2017) is exemplary of the artist’s and colors on silk, 12 3/8 x 17 5/16". Mildred Lane 44 7/8 x 17 5/16". Mildred Lane Kemper Art Kemper Art Museum, Washington University in Museum, Washington University in St. Louis. current painterly practice. This layered work is made St. Louis. Gift of the David W. Mesker Trust, 2017. Gift of the David W. Mesker Trust, 2017. up of bold brushstrokes and a vibrant palette of warm pinks, hot reds, and sulfuric yellows. It engages with the history of abstract painting through an exploration A generous gift of Alison and John Ferring, Tom Friedman’s of painterly concerns—the play between figure and Untitled (1999) expands the Museum’s holdings by this ground, color and line, and flat and recessive spaces, as internationally renowned artist. The work consists of well as between figuration and abstraction. The work finely minced pieces of paper sprinkled over the drawn complements a number of modern and contemporary outline of a sheet of paper—an arrangement that compositions in the Museum’s collection that explore necessarily changes with each installation. Throughout his the rich terrain of abstract painting, developing and practice Friedman (BFA88) has used ordinary materials challenging its history and rhetoric. in unconventional ways to explore ideas of perception, logic, and wit. Untitled humorously blurs the line between a sculpture and a work on paper. Its transformation of a common everyday material into a mutable installation Amy Sillman (American, b. 1955), Cart, 2017. Acrylic on canvas, 51 x 49". Mildred conflates form and process, the finite and the infinite. Lane Kemper Art Museum, Washington University in St. Louis. University Tom Friedman (American, b. 1965), Untitled, 1999. Paper and pencil, purchase, Parsons Fund, 2017. approx. 8 1/2 x 11". Mildred Lane Kemper Art Museum, Washington University in St. Louis. Gift of Alison and John Ferring, 2017. 10 FYI SPRING 2018 kemperartmuseum.wustl.edu 11 SPOTLIGHT SERIES EDUCATION The Kemper Art Museum’s Spotlight Series of online essays offers an array of perspectives on artworks in the collection by both established and emerging scholars. Each season visitors are invited to join the conversation as authors present their in-depth analysis of the artwork of their choice. Flag by Artist Robert Longo Generates Timely Discussions Eleanor Antin’s My Kingdom Is The aim of the Museum’s education the Right Size, from The King of department is to engage visitors with meaningful, relevant programs Solana Beach that make connections between Thursday, March 29, 5p art and contemporary life. The Sophia Powers, Postdoctoral Teaching Fellow, temporary installation last fall of an Department of Art History and Archaeology, artwork on the outside plaza was Arts & Sciences intended to spark conversations about art, politics, and free Eleanor Antin’s series of photographs My Kingdom Is expression. The work, a flag the Right Size, from her 1974 project The King of Solana entitled Untitled (Dividing Time) Beach, comprises eight black-and-white photographs (2017) by contemporary American and a text panel documenting the artist’s street artist Robert Longo, is based on performance as a fluidly gendered “king.” Donning a monumental, black-and-white Eleanor Antin (American, b. 1935), selection from My Kingdom Is the an elaborate costume, Antin roamed the small city Right Size, from The King of Solana Beach, 1974. Eight black-and-white charcoal drawing of the American of Solana Beach north of San Diego, conversing with photographs mounted on board and one text panel, 6 x 9" each. University flag, which the artist created at purchase, Art Acquisition Fund and Charles H. Yalem Art Fund, 2000. passers-by whom she referred to as her “subjects.” the time of the 2016 presidential Sophia Powers will consider this playful yet serious election. The flag is separated into performance and photography project within the two sections by a vertical black Robert Longo (American, b. 1953), Untitled (Dividing Time), from Pledges of Allegiance, 2017. Polyester context of Antin’s oeuvre as well as the broader history flag, 48 x 72". Courtesy of Creative Time. Photo by Nicholas Prakas. strip sewn down the middle with of feminist performance practices. gold thread, reflecting current and longstanding political, social, and racial divisions in the United States. Prints from the Series On October 5, the Museum hosted a public discussion Speculum Romanae Magnificentiae about the work with Adrienne Davis, vice provost and Thursday, April 26, 5p William M. Van Cleve Professor of Law at Washington Erin Sutherland, Curator of Exhibitions, University; Yvonne Osei (MFA16), artist, alumna, and Archives and Special Collections, Washington curator-in-residence at COCA—Center of Creative Arts; University Libraries and Meredith Malone, associate curator. Topics included the flag’s art historical context and the significance of its The 16th-century prints known as the Speculum public location as well as ways to consider the artwork in Romanae Magnificentiae (Mirror of Roman light of recent protests in St. Louis and across the nation. Magnificence) comprise a series of finely detailed The conversation extended to questions about whether images of Roman monuments, buildings, and and how art can influence life. sculptures by a variety of artists and engravers. The individual prints, published primarily but not Vice Provost Davis, who helped facilitate the University’s exclusively by Antonio Lafreri (c. 1512–1577), reflect participation in the project, supported what she called Unknown, Artist Sketching Marforio, from Speculum Romanae Magnificentiae the tremendous interest in antiquity at that time. the “boldness” of bringing Longo’s flag to campus. “It (Mirror of Roman Magnificence), 1581. Engraving, 13 1/8 x 19". Mildred Lane The variety of representations—from dilapidated Kemper Art Museum, Washington University in St. Louis. Gift of the Art and showcases the role of a campus museum in initiating Archaeology Department, Washington University, 1980. structures consumed by vegetation, to seemingly dialogue about the important issues of our time. I perfect monuments restored to their ancient glory— appreciated the diversity of people who came to the provides a sense of the many ways viewers related discussion—students, faculty, members of the public. to antiquity during the late Renaissance. As a result, It shows the range of impact the Museum—and rather than viewing the prints as if they are reflections contemporary art—has in our community.” in a flawless mirror, Erin Sutherland suggests Untitled (Dividing Time) by Robert Longo is one of sixteen flags, each made considering them artistic images made to appeal by a different artist, commissioned by Creative Time in New York for its The complete archive of Spotlight essays can be found project Pledges of Allegiance, a public art series taking place at museums at kemperartmuseum.wustl.edu/spotlight/archive. to a specific audience. and other institutions throughout the country. 1612 FYIFYISPRINGSPRING 2017 2018 kemperartmuseum.wustl.edu 13 NEWS MEMBERSHIP Membership support is essential to furthering the Kemper Art Museum’s legacy of exceptional collections, exhibitions, programs, and scholarship. Museum members enjoy unique benefits and opportunities for engagement, including exclusive events, special discounts, and the chance to join the special-interest membership group, Museum Receives Its Largest Women and the Kemper. Join or renew your membership at kemperartmuseum.wustl.edu/support. Conservation Grant In fall 2017 the Institute of Museum and Library Services (IMLS) awarded the Women and the Kemper Board Welcomes New Members Museum highly sought-after treatment funds to preserve eight sculptures in the permanent collection. Five of these works will feature prominently in the It is an exciting time for the Museum’s members Lori Coulter, Barbara Bindler, new Florence Steinberg Weil Sculpture Garden when the Museum reopens special-interest membership group, Retta Leritz, Tara Lewis, Dorte in fall 2019. The Museum’s iconic Five Rudders (1964) by Alexander Calder Women and the Kemper, which Probstein, Amy Firestone Rosen, is being conserved, and four of the outdoor bronze sculptures—Jacques offers a range of educational and Freida Wheaton, and Sylvia Wright. Lipchitz’s Mother and Child (1949), Aristide Maillol’s Homage à Debussy social activities centered on the (c. 1930), Pierre-Auguste Renoir’s La laveuse (Washerwoman) (1917), and visual arts. While the Museum One of the main goals of the Women Auguste Rodin’s The Shade (1880)—are receiving much-needed protective prepares for the transformation of and the Kemper board is to raise coating along with other treatments. The other three objects being conserved its space, Women and the Kemper awareness of the Museum and are Anthony Caro’s Table Piece, CLXXIX (1974), Ibram Lassaw’s Presence (1960), is undergoing important transitions broaden its constituency. Under and an Oceanic wooden sculpture known as Homme Oiseau (Man-Bird) of its own. At the annual meeting the leadership of Hamilton, this (early 20th century). last fall, the group welcomed new passionate and energetic group Outgoing Women and the Kemper board board president Lynn Hamilton and will play a crucial role in developing president Kathy Frost (left) with incoming In addition to preparing all of the artworks for exhibition and preserving them Opening and installed nine new board members: engagement with the newly president Lynn Hamilton (right) at the annual meeting and luncheon. for posterity, the project will support research into how several of the works Closing Party Assimo Azariadis, Rikki Byrd, Elissa expanded and more visible Museum. were created in order to restore them to their original appearance. This is the Cahn, Elizabeth Goldstein, Monica “I eagerly await the opportunities to
Museum’s largest conservation grant ever and the fourth in a series of IMLS- May 4 McFee, Yvonne Osei, Ulrike Schlafly, make our community more aware For details on this season’s Women and the Kemper programs, view the funded projects. It reflects the solid foundation of collection care that has Join us for a special celebration Sheri Sherman, and Mary Walsh. of the Museum,” said Hamilton. calendar on pages 8–9. been a priority over the last ten years, as well as the importance of sculpture marking two key events: the opening Outgoing board president Kathy Frost “And I feel such joy at continuing to of the 2018 MFA Thesis Exhibition, in the transformed Museum in 2019 and beyond. was recognized for her successful be affiliated with a premier group For more information on Women and and the closing of the Museum from service, as were outgoing board of supporters for this world-class the Kemper or to join, please visit May 22 until fall 2019. In anticipation university museum.” kemperartmuseum.wustl.edu/WAK. of work beginning on the Museum’s new James M. Kemper Gallery for display of the permanent collection, Spring Member Events a spacious new entrance and lobby, and a dramatic new facade, the For the Love of Art: festivities will recognize the history Members Valentine Party of the Museum, the first ten years in the current building, and the Monday, February 12, 6–8p exciting opportunities provided by the Celebrate your love of art at this evening upcoming transformations. program featuring a Valentine-themed tour of the galleries, cocktails and hors ABOVE: The Museum’s new lobby and James M. d’oeuvres, a poetry reading, and art- Kemper Gallery are highlighted in this rendering of the upcoming expansion. © KieranTimberlake making activities. Free for members at the Friend level and above.
Director’s Reception Stay abreast of changes in Thursday, March 15, 6–8p and around the Museum Join us for a cocktail reception with during the east end live music and a conversation with the transformation at curators of Transformative Visions: Staff prepare Alexander Calder’s Five Rudders (1964) for shipment to McKay Lodge Art Conservation Washington University’s East End, sites.wustl.edu/museumexpansion. Laboratory in Oberlin, Ohio, where it will receive treatment to ensure its long-term preservation. Then and Now. A detailed invitation will be mailed about this distinctive opportunity for members at the Members enjoy a tour of the exhibition Renaissance and Baroque Prints: Investigating the Collection with Associate Curator Allison Unruh. Director’s Committee–level and above. 14 FYI SPRING 2018 kemperartmuseum.wustl.edu 15