Chrysler The Members’ Magazine | Winter 2016–2017 FOR THE GREATER GOOD BOARD OF TRUSTEES 2016–2017 Thomas L. Stokes, Jr., Chair The Chrysler Museum of Art exists today because of forward- Lelia Graham Webb, Vice-Chair thinking individuals and their generosity. We exist because women Lewis W. Webb III, Esq., Secretary like Irene Leache and Annie Wood and men like Walter Chrysler Yvonne T. Allmond believed in the value of education and art for the greater good of Dudley Anderson, M.D., F.A.C.P. Tony Atwater society. Those beliefs are still central to the mission and activities Shirley C. Baldwin of the Museum. I am thankful that we have many friends in the Kathleen Broderick community who also share those values. Deborah H. Butler Elizabeth Fraim Today, we continue to operate on the principle of the greater good Edith G. Grandy to society as we endeavor to broaden our reach and develop new James A. Hixon programs, exhibitions, and galleries. In the coming months and Claus Ihlemann years, you will see more interactive components and new spaces Marc Jacobson Linda H. Kaufman at the Museum geared toward reaching families and dedicated to Pamela C. Kloeppel art education. We will create new opportunities to experience our Harry T. Lester important collections of prints, drawings, and photographs. We Suzanne Mastracco will expand our programs in glass. We will also develop exhibitions Oriana M. McKinnon that consider a diversity of topics that are relevant to our audiences. Peter M. Meredith, Jr. Charlotte M. Minor The breadth of our collection and the expertise of our curatorial J. Douglas Perry team allow us to present shows that consider art and science, C. Arthur Rutter III the challenges to our environment, the traditions of military Bob Sasser service, the struggle for equality, and the relationships between Lisa B. Smith Richard Waitzer America and the world, among many other themes. Balanced with Joseph T. Waldo exhibitions from other sources, we can bring our audiences art that Cheryl Xystros examines the American West, Cold War Berlin, 19th-century Paris, the African habitats of elephants, and the Golden Age of Dutch CHRYSLER MAGAZINE Cheryl Little, Museum Editor/ painting. Fortunately, we have a dedicated group of colleagues who Publications Manager work very hard to make all this happen. Ed Pollard, Museum Photographer Jane Cleary, Graphics Manager As we continue to plan and consider opportunities for growth, I am reminded of our founders—and I am most thankful for those who Chrysler Magazine is a quarterly publication produced for and mailed support us today. That begins with our first-time Members and to Chrysler Museum Members as a continues with the Masterpiece Society, the Corporate Leadership benefit of their generous support. Alliance, the City of Norfolk, numerous foundations, and our major Update or verify your membership donors. We are able to serve our community because you have given information at http://reservations. so generously with an eye to the greater good. Thank you! chrysler.org or contact Database Manager Fleater Allen at Chrysler Museum of Art One Memorial Place, Norfolk, VA 23510 757-333-6287 | [email protected]. The Chrysler Museum of Art, all rights reserved © 2016–2017 Erik H. Neil, Director ON THE COVER Brian Bress (American, b. 1975) Installation still from Man with Cigarette (on black) (detail), 2016 High-definition three-channel video (color), four high-definition monitors and players, wall mounts, framed, 40.25 x 91 x 7 inches (total running time: 15 min., 48 sec., loop) © Brian Bress Installation image by Ed Pollard, Museum Photographer Chrysler The Members’ Magazine | Winter 2016–2017 DIRECTOR’S NOTE Inside Front Cover Alex Soth Alex © IN THE GALLERIES Exhibitions on View 2 Photo by and 5 Collection Connection— Loans From and On the Road 6 Collection Connection— The Case of the Lost Derain 8 Spotlight Exhibition— Public and Private: East Germany in Photographs by Ulrich Wüst Ulrich Wüst (German, b. 1949) COVER STORY 12 In The Box: Brian Bress CHRYSLER NEWS 16 The Art of Perception 18 Leading the Way in LGBT Inclusion Training Photo by Ed Pollard, Museum Photographer 19 Education Initiates New Docent Class 20 At The Perry Glass Studio 21 Staff Kudos and Accomplishments 24 Fine Fall Events The Art of Perception MEMBER EXCLUSIVES with Amy Herman 26 Corporate Leadership Alliance Success 27 Norfolk Society of Arts 28 Don’t-Miss Events and Travel Opportunities LAST LOOK Photo by Charlie Gunter for the Chrysler Museum of Art 29 Yee Haw! Branding the American West Members’ Preview Party Branding the American SAVE THE DATE West: Paintings and Films, The Paris of Toulouse- Exhibitions 1900–1950 Lautrec: Prints and Posters Closing February 5 in the from the Museum of Norfolk Southern Special while also observing how Modern Art, New York Exhibitions Gallery immigration, war, racial unrest, Members’ Exhibition (Gs. 101–102) and the and modernization changed Preview Party: Waitzer Community Gallery this land and its native people. The evening of (G. 103) Branding the American West, an Thursday, March 9 Saddle up for a visual adventure exhibition jointly organized by the Brigham Young University Museum Henri de Toulouse-Lautrec’s across new frontiers in of Art, Provo, Utah, and the Stark radical, bold, and often the Chrysler’s fall keynote Museum of Art, Orange, Texas, is outrageous posters and exhibition. This show features made possible in part by a generous grant from the Charles Redd Center illustrations share the spotlight more than 100 paintings, for Western Studies and through the in the Chrysler’s spring keynote films, and statues exploring generous support of the Nelda C. and exhibition. One of Paris’s key the majestic landscapes and H.J. Lutcher Stark Foundation. post-Impressionist artists, cultural riches of the American Presentation of the exhibition and Toulouse-Lautrec frequented West. Through works by its related programs at the Chrysler the city’s many entertainment Museum of Art is made possible by the Frederic Remington, Charles Joan and Macon Brock Endowment establishments, including the Russell, N.C. Wyeth, and the for American Art, with educational popular Moulin Rouge. He masters of the Taos School, support from Wells Fargo and the Wells was commissioned to produce Fargo Foundation. experience a chapter of posters promoting new American art rarely seen in Relive the rodeo of fun from our Café-Concerts, groundbreaking East Coast museums. Discover Members’ Preview Party in this issue’s Last Look on page 29. performers like Jane Avril, how artists and moviemakers audacious impresarios like working between 1900 and 1950 Aristide Bruant, and everyday found inspiration in myths of denizens. Like many Parisian Wild West cowboys and indians, artists, Toulouse-Lautrec drew Henri de Toulouse-Lautrec (French, 1864–1901) La Troupe de Mademoiselle Églantine (Mlle. Églantine’s Troupe), 1896 Lithograph, sheet: 24 1/4 x 31 1/4 in. The Museum of Modern Art, New York, Gift of Abby Aldrich Rockefeller, 1940 Photograph by Thomas Griesel Eanger Irving Couse (American, 1866–1936) The Pima Basket, 1923 Oil on canvas, 24 x 29 in. Stark Museum of Art, Orange, Texas, 31.31.5 2 | WINTER 2017 Wendy Maruyama: In The Box: Brian Bress The wildLIFE project Closing February 19 Closing January 15 in the in The Box Glass Projects Space inspiration from the Japanese (G. 118) and the McKinnon and advocacy command both Los Angeles-based artist Brian Brian Bress’s work in The Box appears prints being exported to Europe, Galleries of Modern and our attention and action to Bress returned last fall to his courtesy of the artist and Cherry and Martin, Los Angeles. which offered new ways of Contemporary Art (G. 223) preserve these wonders of the native Norfolk to unveil his looking at the world. Explore natural world. latest new-media creation. If you missed the artist’s NEON Festival As persistent poaching lecture, learn more about his process belle époque Paris through the Bress incorporates painted sets, endangers Africa’s pachyderms, Wendy Maruyama: The wildLIFE in this issue’s cover story. Curator of eyes of this keen observer and Project is organized by Houston Center handmade sculptural costumes, Exhibitions Seth Feman presents one master craftswoman Wendy his extraordinary works on loan for Contemporary Craft and is curated and improvised performance of our most interesting artist Q&As on Maruyama publicizes their by Elizabeth Kozlowski. The exhibition pages 12–15. from the Museum of Modern into his video work, using plight. She confronts the illegal is made possible by generous support Art in New York. Muppet-like characters to ivory trade—a $10 billion a from the Windgate Charitable Foundation. make complex media theory year industry—through her easily accessible. His works multimedia, multisensory play with the tension between installation. Life-size wooden the flatness of high-definition masks, painted and stitched video monitors and the illusion together with string, honor of depth they provide, and he big-tusker Satao and other investigates the relationship elephants killed for their between the sharp precision valuable ivory. A massive of digital media and the metal video cenotaph and a unpredictability of human clear sarcophagus filled with gestures. The result is a surreal blown-glass tusks complement world in which flattened a Buddhist shrine from which imagery gives way to flights of incense emanates and a bell fantasy. chimes every 15 minutes to mark another elephant’s death. Maruyama’s combination