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. Follow kemperartmuseum SAVE THE DATE FEST AK KW MAY 4, 2018 Whitaker rauer reen 2018 MFA Thesis Exhibition Opening STUT E SKKE LVD SKKE LVD Museum Closing Party LDELL LVD VSTOR LOCATION D-FF/ FEST Mildred ADAED The Museum is located directly west of Forest Park Lane PAK PAK Kemper P 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 6/40T COVER: Roy Lichtenstein (American, 1923–1997), Sandwich and Soda, from the portfolio X + X (Ten Works by Ten Painters), 1964. Screen print FST 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 features of 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.