CONNECT Special Edition
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INSIDE THIS ISSUE 03
FROM THE DIRECTOR
04
STAY CONNECTED
06
AMINAH ROBINSON’S HOME
08
AMINAH FELLOWSHIP & RESIDENCY
10
ART AFTER STONEWALL
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DRIVING FORCES
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MUSEUM STORE
22 HOME 26
FOLK ART ROAD TRIP
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WONDER SCHOOL
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CMA COMES ALIVE
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AN EVENING WITH ART
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SUPPORT CMA CONNECT
36
TRIBUTE FUND
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THE FRONT COVER
Mary Cassatt, Susan Comforting the Baby No. 1, c. 1881. Oil on canvas 17 x 23 in. (43.18 x 58.42 cm). Bequest of Frederick W. Schumacher.
INSIDE COVER Nannette Maciejunes reads to young guests at the sold-out CMA Comes Alive family benefit on February 29, 2020.
Board of Trustees George A. Skestos, President Stephen S. Wittmann, Vice President Loann W. Crane, Secretary Bernie Ostrowski, Treasurer Michael D. Martz, Immediate Past President Russell P. Austin John C. Beeler Michael A. Bukach Jeffery D. Chaddock Elizabeth Crane Jeffrey W. Edwards Michael A. Edwards Sheryl Ellcessor Kathy Eng James Ferguson II Sylvia Goldberg Robin P. Howard Sarah Kay Wayne P. Lawson Ewout Leeuwenburg Lee M. Lochtefeld Sandra R. López Shannon Morgan Michael Petrecca Dara A. Pizzuti Kathryne Reeves Pete Scantland David R. Schooler Ira Sharfin Barbara Siemer Gene Smith Wade Smith Seanna Connor Walter Arlene Weiss Lisa P. Young National Trustees Lesley F. Blanchard Paula Brothers DeeDee Glimcher Wil Haygood Mary G. Kidder Jason Schoen Jeanie Schottenstein V. George Vollmer Honorary Trustees William E. Arthur James B. Bachmann Mary Beth Berggren John Bevilacqua Steve English Bebe Finn Joy Gonsiorowski Ann S. Hoaglin Floradelle A. Pfahl Ronald A. Pizzuti Doug Preisse Sarah Ross Soter John C. Vorys Peggy M. Walter
FROM THE DIRECTOR Your Museum has been closed to the public for more than a month – the longest time in my memory. It seems like an eternity since I have seen all of you and I miss you. Though we do not know when we will be able to welcome you back, my greatest hope is that you and your loved ones are safe and well. I also hope that you are filling your days with meaningful and creative activities and connecting with friends and family in new ways. Life at the Museum continues behind the scenes. Our team is working hard from home and they collaborate every day on myriad projects that keep operations and communications flowing. Our most visible work has been creating engaging online experiences for you and the broader community. Our #HomemadeMasterpiece Challenge has been particularly popular – I hope you’ve seen it and perhaps participated. We are also finishing a much needed upgrade to our Collections database, which will make far more works accessible and searchable. This issue of CONNECT is another special project. For several reasons, we decided to experiment with publishing a digital-only issue. One reason is an effort to be more green at a time when we are all finding ways to do our part to be kinder to each other and our planet. In addition to being budget-conscious, a digital CONNECT creates flexibility in response to daily shifts in information about reopening and the programs and exhibitions that will follow. Moving forward, let us know if you prefer to receive a digital edition.
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STAY IN, STAY SAFE, STAY CONNECTED Nannette V. Maciejunes Executive Director
2020
Thank you for your continued support of and membership in the Museum. It means so much to me and the CMA staff that you continue to value what the Museum means in your life. Founded in 1878, the Museum has been part of the fabric of Columbus for a long time. We stewarded the Museum safely through WWl, the 1918 flu epidemic, the Great Depression, WWIl, and 9/11. We will do the same now and together we will persevere. As always, thank you for all you do for the Museum. Our members are one of our greatest treasures.
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I hope you enjoy this issue. We thought carefully about what may be most relevant and uplifting to you right now. Make sure to read the inspiring piece about what the youngest of our Museum family, our Wonder School preschoolers (and their teachers!), are doing to continue their creative journey – the pictures are sure to warm your heart and give you great hope for this future generation.
STAY CONNECTED
FINDING CONNECTION AND RESILIENCE THROUGH CREATIVITY
How can creativity help us respond in a way that will preserve our wellbeing? Resilience, or the way we adapt to stress, is our most important resource when faced with uncertainty, transition, and crisis. CMA staff are busy developing new ways for you to feel more connected, creative, and resilient. Business as usual is put on hold for a while, but perhaps this is also an opportunity to create new ways forward with new connections, new ideas, and, perhaps, a bit more curiosity and empathy. When you join us in the galleries and participate in our programs, we ask what you notice and observe in a work of art, prompt you to consider various perspectives on nuanced issues, invite you to connect and collaborate with others, and encourage creative thinking. Let’s acknowledge that it’s normal to feel unsettled and concerned when things are so uncertain, and feel really big. Can you notice those thoughts and emotions as they come up? Can you be curious and describe them without judgement and let them go? Can you also notice what has worked out for you this past week? Could you imagine ways to practice more creativity and empathy in the coming weeks?
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Lately, artists are helping us feel socially connected despite being physically apart. They have filled our hearts and homes on social media, allowing us into their studios and creative process. With prompts to keep young children engaged, live concerts, cooking tutorials, and mediation practice, the artistic spirit is winning. It’s also important to explore our own creative ambiguity. Putting the pen to paper, brush to paint, or our hands on an instrument is equally important. When we are faced with uncertainty in our lives, even the idea of starting something new and challenging might feel scary. Give yourself permission to experiment and play. Allowing for creative self-expression is a worthy goal, even if it’s just for you. Let’s connect at columbusmuseum.org/StayConnected. Follow us on Facebook, Instagram, and Twitter @columbusmuseum
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RENOVATIONS BEGIN ON AMINAH ROBINSON’S HOME AMINAH ROBINSON’S FORMER HOME TO BE FIRST-OF-ITS-KIND RESIDENCY PROGRAM
CMA is proud to announce that renovations to the home/studio of artist Aminah Brenda Lynn Robinson are under way. For more than 40 years, Robinson’s life and work centered around her residence on Sunbury Road in the Shepard neighborhood on Columbus’s East Side. To honor her legacy, the home will be used as an artist residence following the completion of renovations. These renovations have been carefully undertaken to preserve the artist’s spirit and, at the same time, create a warm, comfortable environment for artist residents. The Aminah Brenda Lynn Robinson Residency is a rare—if not the only—program set in the former home of an African American artist, which is available solely to African American artists. The Columbus Foundation provided the visionary funds for renovation that made the concept a reality. Updates to the house include new wiring and plumbing on the interior and new fences, paint, and repair to the exterior. Preservation and conservation of the mosaic tile floor Robinson created in the kitchen, her second floor writing room, the carved and painted front doors, and the bottle garden she carefully “planted” and tended will reflect the artistry which permeated her home on the inside and outside.
Image: Newly restored exterior doors from Aminah Brenda Lynn Robinson’s home/studio.
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Ownership of Robinson’s home passed to CMA through the artist’s bequest following her death in 2015. Since that time, the Museum has removed, photographed, documented, conserved, and safely stored items from the home studio, including all works of art, the artist’s library, archives, and furnishings. “Aminah believed that her journey and the Museum’s journey were intertwined,” observed Maciejunes. “She would be proud that her home will be used as a living and working space for artists and that the connection between her and the Museum will endure.”
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Members of the greater museum family were instrumental in launching the project. Early on, Dr. Wayne P. Lawson helped shape the artist residency named for Aminah, and the Greater Columbus Arts Council (Arts Council) became a partner in organizing it. Larry James championed this project from its inception and encouraged community involvement in fundraising efforts.
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With the leadership of CMA executive director Nannette Maciejunes, CMA curators Carole Genshaft and Deidre Hamlar, and deputy director Rod Bouc, the Aminah Brenda Lynn Robinson Legacy Project team worked diligently to select renovation partners that would respect and preserve the spirit of the artist. The team completing the work on Robinson’s home includes Aaron McDaniel, Blueprint Investments, LLC, Real Estate Development Company; Brenda Parker, The Columbus Architectural Studio; and Mark Corna, retired CEO of Corna Kokosing Construction Company and Mindy Corna, design consultant.
AMINAH BRENDA LYNN ROBINSON FELLOWSHIP & RESIDENCY INAUGURAL AFRICAN AMERICAN ARTIST RECIPIENTS CHOSEN
On December 3, 2019, CMA, in partnership with the Arts Council, launched the Aminah Brenda Lynn Robinson Fellowship and Residency. The Fellowship is open to African American professional visual artists residing in Franklin County and provides an unrestricted grant of $15,000. The Residency is open to all African American professional visual artists residing in the United States and includes the opportunity to stay in Robinson’s home and participate in community outreach activities facilitated by the Museum and Arts Council. The inaugural Fellowship recipient was announced February 2020 and the inaugural Residency recipient March 2020. In addition to the generous support of The Columbus Foundation, support for the Aminah Brenda Lynn Robinson Fellowship and Residency has been provided by Loann Crane. The National Endowment for the Arts provided funding for the Aminah Robinson Legacy Project. Columbus artist Don “DonCee” Coulter was named the first recipient of the Aminah Brenda Lynn Robinson Fellowship. His fellowship runs March 2, 2020 through May 31, 2020 and includes a $15,000 unrestricted award. Coulter has been creating detailed, multi-layered fabric artworks for more than 20 years.
Being the first recipient of the Aminah Brenda Lynn Robinson Residency is nothing short of a tremendous honor. To live and work in Robinson’s home and studio is to be a part of a rich artistic legacy.
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– Johnathan Payne Memphis-based artist Johnathan Payne was selected for the first Aminah Brenda Lynn Robinson Residency. Payne, a Houston native, earned a BA in art from Rhodes College and an MFA in painting and printmaking from the Yale School of Art. He describes himself as a Southern, African American, queer artist working in drawing, painting, printmaking, collage, and weaving. Payne engages with themes of self-concept, tribalism, mental health, semiotics, and the complexities of being a marginal identity. He creates works within the traditions of geometric abstraction, post-minimalism, and fiber sculpture. He has exhibited widely in New York City, Memphis, Los Angeles, San Francisco, and New Haven. His residency will begin in late summer or early autumn. Top Images left to right: Don DonCee Coulter, 2018, Columbus Museum of Art Commission. Johnathan Payne, Outer Limits, 2018. Mixed media on paper, 60 x 38 ¾ inches. Courtesy of the artist. Bottom Images left to right: Don DonCee Coulter at Art Celebration 2018, Photo by Megan Leigh Barnard. Johnathan Payne, Photo by S. Erin Bastiste.
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ART AFTER STONEWALL, 1969–1989
Hailed by ARTnews as one of the best and most important exhibitions of the decade, Art after Stonewall celebrates the 50th anniversary of the Stonewall Uprising and the impact on the art world of the LGBTQ liberation movement that followed. Below is an excerpt from the acclaimed catalogue of the same name that accompanies the exhibition. It is written by Jonathan Weinberg, guest curator, critic at the Yale School of Art, and curator and director of research at the Maurice Sendak Foundation; and Anna Conlan, curator and
police raid on the Stonewall Inn, a Mafia-run gay bar on Christopher Street in New York City. Like
so many times before, the police expected to line up an acquiescent group of homosexuals and
issue summonses. But instead they encountered resistance from the patrons, who were tired of
being harassed. Among the group were the transgender activist Marsha P. Johnson and the artist
Thomas Lanigan-Schmidt, who later described his fellow resisters as “street rats . . . Puerto Rican,
Black, Northern and Southern whites. ‘Debby the Dyke’ and a Chinese queen named ‘Jade East.’
The sons and daughters of postal workers, welfare mothers, cab drivers, mechanics, and nurses’
aides.” As the historian David Carter puts it, “the most marginal groups of the gay community fought
the hardest.” Carter vividly describes how the violence spilled into the street and then a “general
assault now began on the Stonewall Inn using anything and everything the crowd outside could get
its hands on: garbage, garbage cans, pieces of glass, fire, bricks, cobblestones, and an improvised
battering ram.”
At the time, no one in the group imagined they were making history. Lanigan-Schmidt, when
interviewed for this catalog, said they just wanted to be left alone to dance slow with each other.
But those acts of resistance by drag queens, nellies, and dykes—that is, those who were among
America’s “most neglected children”—marked what historian Martin Duberman has called “the birth
of the modern gay and lesbian political movement” and would become “an empowering symbol of
global proportions.” [ . . . .]
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There were no plans for rebellion in the early morning of June 28, 1969. It all began with a routine
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exhibition manager at the Samuel Dorsky Museum of Art at SUNY New Paltz.
Of course, the LGBTQ civil rights movement did not begin with Stonewall. It has its
roots in the homophile movements that began before World War II in Europe, and in
the United States in the 1950s. Such courageous organizations as the Mattachine Society
and the Daughters of Bilitis forged new paths towards recognition. There were even
comparable protests against police harassment of homosexuals in the late 1950s
and 1960s in New York, San Francisco, and Los Angeles. What made Stonewall different
was not the riots themselves—although they were certainly larger and more violent than
anything that came before—but the decision by LGBTQ activists to mark the anniversary of
the rebellion in what was to become an annual march in cities throughout the country.
As Christopher Reed’s essay in [the exhibition] catalogue suggests, acts of representation
helped crystallize the shift in consciousness that Stonewall triggered. Significantly,
when Los Angeles inaugurated its own Gay Pride march in 1970, it was called Christopher
Street West. In time, all across the country and indeed the world, various LGBTQ civil
rights groups took up Stonewall as part of their nomenclature.
Yet if Stonewall looms large in queer history and the struggle for equal rights
internationally, you would hardly know it in the New York art world, at least during the first
decade that followed the rebellion. Much has been written on the impact of the LGBTQ
movement on American society, and yet fifty years after Stonewall, key artists in that story
and their works remain little known.
IMAGES: Thomas Lanigan-Schmidt, Allegory of the Stonewall Riot (Statue of Liberty) Fighting for Drag Queen, Husband and Home, 1969. Foil, plastic wrap, pipe cleaners, linoleum, glitter, acrylic paint, acrylic floor shine, food coloring, staples, Magic marker, wire, printed material, found objects, and other media. Columbus Museum of Art: Museum Purchase, Derby Fund. Cathy Cade, Christopher Street West, LA: None Of Us Is Free Until All Of Us Are Free, 1972. Digital print. 16 x 11 inches (40.64 x 27.94 cm). © Cathy Cade, Courtesy of the artist.
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Diana Davies, Gay Rights Demonstration, Albany, NY, 1971, 1971. Digital print 14 x 11 inches (35.56 x 27.94 cm). Photo by Diana Davies/© The New York Public Library/Art Resource, NY.
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FRIENDS OF ART AFTER STONEWALL, 1969-1989 Honorary Exhibition Chair: Jim Obergefell Radical Sponsors Jeff Chaddock & Mark Morrow Envisage Wealth Tom W. Davis Equitas Health Prizm Lynn Greer & Stevie Walton and the Women’s Collective John & Michaella Havens and Parker Havens & Dean Panik, in honor of Barbara Havens Kidder Family Endowment Fund for Contemporary Art The Charles Kleibacker Endowed Fund for Excellence D. Scott Owens & Kevin Kowalski Harlan Robins & Shawn Shear Dickinson Wright PLLC John L. Wirchanski
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Crusader Sponsors Beth Crane & Richard McKee Sarah & Dan Kay The Manley Family Meara & Matt Scantland Champion Sponsor Loann W. Crane Paul Feeney & Dr. Chad Braun Lee Lochtefeld Peg Mativi & Donald Dick Jane P. Mykrantz & Kiehner Johnson Puffin Foundation West, Ltd. Corde Robinson Alan & Peg Scantland Danielle & George Skestos Activist Sponsors David F. Cooke The Gravity Project, Kaufman Development Mary Jo Hudson & Dr. Lynn Wallich Wayne Lawson & Bill Mitchell The Legacy Fund of The Columbus Foundation Jeffrey Mackey Jim Obergefell Gerry Rodriguez & Joshua Schonauer Michael Smithson Seanna & Matt Walter
Advocate Sponsors Lucy Ackley & Robert Collier Ben Addison Steven Anderson Randy Arndt & Jeff Baker Black Out & Proud Columbus Metropolitan Housing Authority Jodi Cooley & Jo Hickman Lisa & Tom Courtice Carole Dale Susanne Dotson Sheryl & Steven Ellcessor Kathy Eng Eryn & Rick Grady Tom Grote & Rick Neal Bruce Harkey & Roger Foreman Joe E. Heimlich & James H. Hodnett Rebecca & Sebastian Ibel Wendy & Chris Johnson Catherine & Steve Kennedy Monica & Doug Kridler Nancy & Tom Lurie Nannette & George Maciejunes Gabriel Mastin Brian McLaughlin & David Savoia Roger Pettry & Sharon Weiss Doug Preisse & Tim Sword Bob Roehm Foundation Fund Michelle & Pete Scantland Linda Schuler & Karla Rothan Jody & Jeff Scheiman Steve Shellabarger Melissa & Wade Smith Kim Dennis Stuckenbrock Nick Weitzel & Chris Streeter Holly & Steve Wittmann Lisa & Stuart Young Media Sponsors Ohio Magazine Prizm
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DRIVING FORCES: CONTEMPORARY ART FROM
M THE COLLECTION OF ANN AND RON PIZZUTI Driving Forces is a celebration of the first year of the Pizzuti Collection building and programming joining forces with CMA. The first exhibition to span both CMA locations, it is also the largest exhibition of work ever shown from the Pizzutis’ private collection. Below is an excerpt from the catalogue of the same name that accompanies the exhibition. It was written by Tyler Cann, CMA head of exhibitions and Pizzuti family curator of contemporary art, and Rebecaa Ibel, curator. It is important to highlight, first of all, the plural nature of the exhibition title: Driving Forces. At any moment in the ecosystem of contemporary art, there are many dynamic forces at work helping to shape the cultural conversation and the direction of art history. Primary among these, of course, are the artists themselves. We humans are much richer for having individuals among us with the creative energy and drive to put something meaningful in the world. Participating in the cultural conversation as an artist requires courage and conviction. The artists in this exhibition are the prime movers.
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And certainly, a critical part of the audience—the one that sustains artists and their work in very real ways—is the collector. To live with art is to be in dialogue with the emotions, memories, and histories they carry on a daily basis. Art works do not merely fill a room, they populate it with their presence, and it can be extremely rewarding to be surrounded by things that speak to a creative idea. Many collectors describe the acquisitive urge and the everyday thrill of living with art as strangely addictive. In their own ways, Ann and Ron Pizzuti have happily submitted to this gratifying affliction for over forty years.
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But there is no art without an audience. The address to a public of some kind, even an imaginary one, is built into the practice of making art. Artists are continuously in dialogue with their forebears, peers, community, and world at large. This audience is a central part of the artistic equation, it is where meaning and momentum are generated. An expansive notion of the audience would also encompass the entire cultural and institutional apparatus that surrounds any particular work. This includes museums, galleries, academic departments, publishers, as well as the curators, dealers, historians, critics, and artists that populate them. You, dear reader, are part of a community for whom art helps form a clearer picture of the world. Whether you look to art to challenge your assumptions and probe your own thoughts, or to simply give you a certain kind of pleasure, you are also one of the forces indicated by our title.
As recounted more than once in these pages, Ann and Ron Pizzuti acquired their first work of art, a print called Regards Singuliers by Karel Appel, in 1972. It was a stroke of good fortune for Columbus that the little gallery they acquired it from on East Broad Street happened to be an early outpost of Pace Gallery, run by the indomitable Eva Glimcher. Pace would go on to become one of the largest and most important international art galleries, and Eva Glimcher was determined to get ambitious contemporary art into the Columbus community. The Pizzutis gladly joined this undertaking, and Regards Singuliers became the touchstone for a renowned collection of global contemporary art. The collection of Ann and Ron Pizzuti does not follow any rules with respect to geography, size, medium, or style. It takes a broad sweep of contemporary artistic practices. However, strong relationships with artists, sometimes over decades, are also an important feature of the collection. It was Frank Stella that first caught Ron’s eye, and the Pizzutis have followed his career through most all of its stylistic twists and turns. This longstanding relationship is, quite literally, the starting point for Driving Forces; at both venues for the exhibition, the first work one encounters in the galleries is by Stella. And with the eight pieces by the artist in the show, one could chart a significant portion of his career. The shaped canvas Sketch Red Lead (1964), the concentric squares of Minor Drag (1967), and the monumental Polish village series Targowica III (1973) map the development of Stella’s painting, and with it, an important facet of geometric abstraction in this period. The two lithographs from the late 1960s and Pergusa Three (1992) offer a glimpse at Stella’s printmaking, while Knutange (1992), and the intensely contorted De Roos (2012) show the restless dynamism of his sculptural work. The development of Driving Forces even occasioned a visit to Stella in the immense former airplane hangar that serves as his studio.
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Among the other artists whose work the Pizzutis have collected in depth are Tomory Dodge, Ori Gersht, Jim Hodges, and Alec Soth, to name a few. As the Pizzutis grew as collectors, they began to acquire work by a diverse set of younger artists from New York, around the country, and internationally. Reflecting the global character of the collection, as well as the increasingly cosmopolitan nature of contemporary art itself, there are over seventy-five artists from twenty-four countries included in Driving Forces. The oldest, Sonia Delaunay, was born in France in 1885, while the youngest, Toyin Ojih Odutula, was born in Nigeria a century later, in 1985. Cuba, China, and India represent particular geographical strengths of the collection, but artists from Brazil, Jamaica, South Africa, Kenya, and many other corners of the globe are also here. This openness to younger artists from all over the world is one of the most remarkable features of the Pizzuti collection, making Driving Forces an intergenerational and international slice of work from the last half century. Sonia Delaunay’s whirling abstraction is in conversation with that of Carrie Moyer. Lee Ufan, who was born in South Korea and works in Japan, sits alongside work by Ai Weiwei, from China, and Bharti Kher, from India, as well as American artists Nick Cave and Jim Hodges. Many of the artists who came to prominence in the twenty-first century, such as Titus Kaphar, Kara Walker, and Kehinde Wiley, are engaged very directly in the process of reevaluating history, and reappraising the stories of those who have often been marginalized in its telling. Following artist’s careers, supporting their work, and becoming part of the conversation in the process, the Pizzutis know well that when a group of objects becomes a collection, it takes on a life of its own. With service to the art and the community that surrounds it, Driving Forces shows that a collection, particularly one so connected to what is happening at any given moment, can become a cultural force in its own right.
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WH AT’ S H OT
Museum Store Gift Card – Bonus Offer! Support the Museum by purchasing Gift Cards now and receive an extra gift for yourself! Purchase a $25 Gift Card and receive $5 Bonus Gift Card Purchase a $50 Gift Card and receive $10 Bonus Gift Card Purchase a $100 Gift Card and receive $20 Bonus Gift Card
C r e a t i v e G o o d s + Go o
Aminah’s World An activity book and children’s guide about artist Aminah Brenda Lynn Robinson. $24.95
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Love is Love Mug Brighten your morning with a SiliPint 16 ounce silicone travel mug, available with clear or black lid $19.95
Art after Stonewall Catalogue This book documents the powerful art that emerged in the wake of the Stonewall Riots and the rise of the LGBTQ liberation movement in the U.S. 304 pages – hardcover $39.95
a l v ases
with these whimsical vases n accent on your bedside table.
OUR FAVORITE GIFTS
o d De sig n in the Mus e u m S t o r e
C M A j ew e lry Jewelry set with blue accents $75.50
Porcelain home decor nesting bowls $45.00
w i l ey
Love is Love T-Shirt Enjoy an extra soft American Apparel t-shirt with the Love is Love versize paintings of theme, available in adult sizes small – x large $24.95
frican-Americans in spired by the great rait painters of the past.
Rainbow Scarf This gorgeous hand-dyed and hemmed scarf is 100% silk. True red, orange, yellow, green, blue, indigo, and violet for you to wear and display with pride any day. 14” x 72” $90.00
gu e s s t h e a rtis t Test your knowledge of
Driving Forces: Contemporary Art from the art history by puzzling out Collection of Ann and Ron Pizzuti exhibition the answer from Craig & Karl’s catalogue. 154 pages, entertaining soft cover $29.95 illustrations.
Rainbow X Bracelet
An activity book and children’s Created for CMA to celebrate Art after Stonewall, guide about artist Aminah and these colorful rubber links connect with a bronze clasp Brenda Robinson $55.00
CM A
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s car f
$ 24 .9 5
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a m i n a h ’s w o r l d
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$14.27
n’s blue gingham printed scarf
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lotu s n e stin g b owls
Museum Store
CREATIVE GOODS + GOOD DESIGN
HOME
Located in the JP Morgan Chase Center for Creativity, the Big Idea Gallery is a family-friendly space that brings together works of art around a relatable, one-word theme. Previous themes have been PLAY, MOTION, FACES, and DOGS. The current installation, titled HOME, highlights a variety of works in CMA’s collection paired with hands-on activities designed by local artists to explore the idea of home. Amid the COVID-19 crisis, HOME takes on new and more personal dimensions. The guiding questions that loosely organize the gallery stand out as relatable, now more than ever as we all work to find our new normal during Ohio’s shelter-in-place orders.
Who makes you feel at home?
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Julie Blackmon’s playful family portrait empathizes with many of us who are balancing full-time parenting and distance learning with working from home. For single people who are staying-at-home solo and discovering the value of their own company, Kelli Connell’s piece Clothesline resonates at the moment. To create this image, the artist digitally manipulated photographs of herself to visualize a close personal relationship between two copies of her own image.
Julie Blackmon, Candy, 2007. Color inkjet print, 22 x 22 in. (55.88 x 55.88 cm) Museum Purchase, Derby Fund.
Kelli Connell, Clothesline, 2002. Columbus Museum of Art, Ohio: Museum Purchase, Derby Fund.
Wyze, a local photographer, collaborated with CMA to document the people and places of her community displayed in the Big Idea Gallery.
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A seemingly obvious question, this section of the gallery reflects on the distinct features of our communities and environment. Wyze, a local photographer, collaborated with CMA to document the people and places of her community. Visitors are encouraged to share photos of their neighborhoods on a screen that is integrated within the installation. Now, images shared might be of places and people that are currently out of reach, but that we hope to visit soon.
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Where do you feel at home?
Wyze, a local photographer, collaborated with CMA to document the people and places of her community displayed in the Big Idea Gallery.
What objects remind you of home?
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Priscilla Roberts’s painting, The Attic Scene, is surrounded by objects—some created by artists, others created by visitors—that evoke a sense of home. One such object is a wooden fork and spoon set borrowed from CMA’s Lead for Gallery Learning, Stephanie Samera. Call 614.448.5095 and press 210# to hear Stephanie share why this set reminds her of home. The painting depicts items that have been forgotten, gathering dust in storage. And yet, they have not been thrown away, so we can imagine they still have value to someone. Now that many of us are working from home and are constantly surrounded by our things, take some time to think about the memories they hold, and which objects bring you the most joy. While everyone has different experiences of home, we all value a good one. In this installation, visitors are encouraged to think about the people, places, and objects that mean home to them, while also exploring diverse perspectives present in the gallery. Stay connected with CMA as we share more content and activities found in this installation. Right Image: Priscilla Roberts, The Attic Scene, 1946-1947. Oil on Masonite® 44 3/4 x 38 1/2 in. (113.67 x 97.79 cm) Museum Purchase, Derby Fund.
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FOLK ART ROAD TRIP: TRAVELS WITH MODERNISM’S UTILITY INFIELDER In three successive eras of modern art history, different definitions of folk art have come into the American art conversation. This exhibition seeks to juxtapose vanguard and vernacular art in a historical narrative, wherein modern Americans have repeatedly found and invented political, aesthetic, and spiritual utility for the art of folk and self-taught artists. In response to the massive cultural destabilizations that attended the first decades of the 20th century, many Americans longed for a world in which art was just itself. Certain modern artists discovered straightforward styles of art, that they called “folk art,” in the simple handmade tools, toys, stitchery pictures, landscape paintings, and trade signs produced in frontier America. Among these artists, Yasuo Kuniyoshi, Charles Sheeler, and Elie Nadelman found the formal simplicity and distinctive American style of their nation’s pre-industrial folk art to be an inspiration for their own vanguard modernism. Throughout the middle decades of the 20th century, folk art produced by anonymous frontier craftsmen no longer excited the art world. Instead, the work of contemporary, self-taught artists came to symbolize the regional and ethnic vitality of a pluralist America newly seeing itself more as a tossed salad than as a melting pot. Modern artists, ranging from Doris Lee in the 1940s to Andy Warhol in the 1970s, collected the work of living, self-taught, folk artists whose creativity spoke to them about the vitality of work-a-day modern America. As the 21st century approached, American modernists identified yet another body of non-academic art that became the folk art for their time. This genre was comprised of idiosyncratic art gestures produced
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by “outsiders” (incarcerated prisoners, women, ethnic minorities, and others) seeking a place in an increasingly diverse society challenged by its own historic passion for individualism. Today, contemporary artists like Luis Tapia, Michael Noland, and Lee Garrett have been inspired by marginalized self-taught artists seeking identity in modern American life. Connecting the dots in the story of folk art to some of the many familiar dots in the epic of modernism, this exhibition presents the CMA folk art collection in a direct conversation with the vanguard artists that have been its champions for over a century. Top image: Mary Borkowski, The Crash (1968). Silk on silk. Gift of Michael D. Hall and Pat Glascock (in Memory of Herbert W. Hemphill, Jr.). Bottom image: Doris Lee, Schwab’s Drug Store (1945). Gouache on illustration board. Museum Purchase, Howald and Derby Fund.
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WONDER SCHOOL At Wonder School, the laboratory preschool collaboration with Columbus State Community College, Columbus Museum of Art, and The Childhood League Center, we began the 2019–20 school year thinking about community. To say that the world has changed since then is a complete understatement, but at Wonder School, we are still thinking deeply about community, both inside and outside of our classroom, and especially how to take care of each other. After the initial flurry of closures, we reached out to families with two simple questions, “How are you, and how can we support you?” Overwhelmingly, families shared that while many were safe and physically well, everyone (kids and grown-ups) was missing daily connections and opportunities to keep in touch. To this end, the WS team is focusing on ways to keep connections strong—between us and children but especially between families. We created a private, shared photo album where families can show what they’re up to, and comment on each other’s pictures. Through it, we’ve all gotten to see treasures found in nature, learned new yoga poses, and gotten to know Debbie the Dog (who looks smashing in a birthday hat). We’ve also started a pen pal program for those who are interested, and began weekly, virtual “morning circles.” If you think your most recent remote meeting felt a bit scattered, it’s nothing to the beautiful chaos of video conferencing with 8 to 15 preschoolers! As we all settle into new routines, we’re also trying to think together about how to continue investigations started earlier in the year. Our mission is “. . . to foster purposeful play, critical inquiry, and a collaborative community approach to education . . . for a more creative and compassionate society.” Throughout the year, we’ve woven “traditional” academic subjects (literacy, numeracy, writing skills, etc.) together with curiosity and wonder and a desire to create a kinder and more just world. Currently, we’re encouraging families to find wonder in the natural world, and sharing opportunities with families like writing letters and making cards to
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send to healthcare workers, grocery store clerks, and janitorial staff who keep the world well and fed and cleaned. But perhaps the most important work we’ve done has been the simplest—reaching out, checking in, and keeping in touch with the grown-ups who are now in charge of navigating new normal, even as they manage their own stress and anxiety. From scheduling conferences for those who want them to sending quick emails filled with silly memes, our message to families is: We can’t be together, but you are not alone.
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CMA COMES ALIVE
The 3rd annual CMA Comes Alive on Saturday, February 29 welcomed more than 600 guests and was an energetic evening of family creativity. Event highlights included imaginative artmaking in the Studio, a Transit Arts dance party, Artful Adventure Tours, a comic workshop, an interactive LEGO Brick build, and story time with Nannette, who read Fantastic Features of Peculiar Creatures by Amy Solaro. Thanks to the generosity of attendees and sponsors, the event raised over $70,000, supporting access for families to engaging Museum programs and to keep admission on Sundays free for the Central Ohio community. Thank you to Event Chairs Jessica and Mac Joseph, Jaime and Joseph Jozic, Lauren and Matt Leahy, and to our generous event supporters and volunteers who made this evening possible. For a complete list of our amazing supporters, visit columbusmuseum.org.
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Event Sponsors Anonymous Crane Group The Joseph/Miely Family Paul Werth Associates Jennifer and Bryan Stewart Ellen and Ed Yen Media Sponsor
Event Partners American Nut Company Kittie’s Cakes Rowe Boutique WOSU Public Media Event photos Megan Leigh Barnard
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AN EVENING WITH ART RAISES OVER $70,000 IN SUPPORT OF FREE SUNDAYS
On March 7, CMA Women’s Board hosted An Evening with Art for over 400 guests. At this celebration of art and artists, guests bid on more than 90 pieces of art, including an original watercolor by Aminah Brenda Lynn Robinson; and the Museum announced the 2020 inductees to the Ohio Artist Hall of Fame. The newest inductees to the Ohio Artist Hall of Fame include Berenice Abbott, a pioneering 20th century American documentary photographer and archivist; Charles Burchfield, a modernist painter who celebrated nature in his watercolors; and Robert S. Duncanson, a 19th century American artist known for his contributions to landscape painting. The goal of the Ohio Artist Hall of Fame is to remind Museum visitors of the rich and varied contributions Ohio artists have made to our state and the world. Find more information about the Ohio Artist Hall of Fame on the CMA website at columbusmuseum.org/about-cma/ohio-artisthall-of-fame/. Women’s Board is a fundraising auxiliary of the Museum and has dedicated over 50 years of support for CMA, with aggregate donations to the Museum
Chelsie Casagrande
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Event Photos
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surpassing five million dollars.
INSPIRE AND FOSTER CREATIVITY PLEASE SUPPORT CMA
Columbus Museum of Art has been a cultural anchor in our community for more than 140 years. While our building is temporarily closed, your generosity helps us to inspire and foster creativity today and plan for the better days to come. CMA is committed to the importance of creativity. Our programs include Wonder School for our youngest learners, Art of Analysis for OSU medical students, and Sparking Imaginations for those living with Alzheimer’s disease and their caregivers. Our walls are filled with some of the most beautiful and inspired examples of creativity throughout history. Our most challenging problems have been and will be solved by inspiring and empowering people to question, connect, experiment, and act on their ideas. Today we know this to be even more relevant, as we watch some of the best and brightest in the world put into practice important critical thinking skills to problem solve and innovate. CMA depends on financial support from the community, and your generosity has never been more important than now, when our doors are closed. Please consider donating today.
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• • • •
Make a donation to the annual fund Make a meaningful tribute gift in honor of someone special Upgrade your membership or renew early Share the gift of art with a loved one through a gift membership
Art and creativity matter, especially in times of crisis, and we will continue to find ways to provide the solace, inspiration, and connection that they can offer. Thank you for believing in the importance of creativity now and helping preserve the arts for the future.
*Due to the CARES Act, all donations will be 100% tax-deductible as part of an itemized return
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TRIBUTE FUND Columbus Museum of Art Tribute Fund provides a unique way to support the Museum and to remember or honor family and friends. We are pleased to acknowledge the generosity of these donors.* Please visit columbusmuseum.org or call 614.629.0362 to make a Tribute Fund gift. Gifts given in memory of Dr. James (Jim) Barnes Pam Edwards and Carl Mitsoulis Mrs. Nancy Hamilton Gifts given in memory of Sarah Boor Bennett Mr. and Mrs. Donald Bennett Gifts given in memory of Kathryn “Carol” Boehmer Richardson Lenora Schroth Gifts given in memory of Mary Campbell Lewis Mrs. Nancy Hamilton
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Gifts given in memory of Joanne V. Cooper Jack and Noony Malone Mrs. Evelyn M. McKitrick CMA Women’s Board
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Gifts given in appreciation of of Mary Connolly-Ross’s feng shui magic Julie and Ralph Nusken
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Gifts given in memory of Dr. John W. Clifford Julie and Ralph Nusken
Gifts given in memory of Donald W. Dick Lucy Ackley and Robert F. Collier Alfred and Frances Cianelli David and Terri Cianelli
Mr. David F. Cooke Mrs. Loann W. Crane Pam Edwards and Carl Mitsoulis Michael and Anita Goldberg Kay Graf, Nancy Wallar, Beth Phillips and Beth Gill Greater Columbus Arts Council Ms. Mary Jo Green Drew and Becky Greenberg and Varon Ms. Kelley Griesmer Mary Jo Hudson and Lynn Wallach Barbara and Ron Hupman Ms. Mary Iannarino Mac and Jessica Joseph Tom and Mary Katzenmeyer Wayne Lawson and Bill Mitchell Anthony Leo and the team at RLS Logistics Elliott Luckoff and family Nannette V. and George E. Maciejunes The Dickson Family at Olmsted Ice, Ted, Tom, Tony and Blaine John Olsen Judy Petersen and Bob Adamo Ann and Ron Pizzuti Mr. and Mrs. Neil K. Rector Kathy and Larry Shkolnik Linda Siefkas and Donald Slowik Solutions Staffing Molly Stormer and TempNet Staffing Association Gifts given in memory of Donald W. Dick, and in honor of Peg Mativi’s work for the Contemporaries Ms. Susanne Dotson
Gifts given in memory of Jodie M. Ferguson Mrs. Nancy Hamilton Gifts given in memory of Janet L. Fox and a life well lived Julia R. Nusken Gifts given in memory of Sylvia L. Goldberg Lucy Ackley and Robert F. Collier Mr. and Mrs. James B. Bachmann Bailey Cavalieri LLC Janis Block Ms. Toby Brief Mrs. Loann W. Crane Mrs. Joyce B. Dargusch Mr. John R. Davis and Dr. Vivian Witkind Davis Mr. Donald G. Dunn Mr. and Mrs. Jeffrey W. Edwards Mr. and Mrs. Peter H. Edwards, Sr. Jim Elliot and John Behal Mr. and Mrs. Michael J. Fiorile Daniel and Martha Fitzmaurice Mrs. Judy Garel Carol Andreae and Jim Garland Mrs. John B. Gerlach Mr. and Mrs. Gary D. Giller Mr. and Mrs. Michael Gonsiorowski Julie Graham and David Graham Mrs. Marilyn H. Harris Gregory and Jenifer Hayes Ann and Tom Hoaglin Mr. Ted Inbusch Mr. and Mrs. Frank E. Kass Wayne Lawson and Bill Mitchell Mrs. Mary K. Lazarus Peggy Lazarus
Guests and artists celebrate creativity at An Evening with Art on March 7, 2020. Photos Chelsie Casagrande
Gifts given in memory of Sylvia Goldberg, a founding member of the Contemporaries Mr. David F. Cooke Ms. Susanne Dotson
Gifts given in honor of Kathryne Reeves’ involvement with CMA The Cardinal Health Foundation
Gifts given in memory of Carole “Rusty” Groselle Julie and Ralph Nusken
Gifts given in memory of Carol Richardson Agnes Balcer Heather Lauderback Scott Richardson
Gifts given in memory of Dellas H. Harder Larry and Patsy Strollo
Gifts given in memory of Barbara Anne Scott Mrs. Nancy Hamilton
Gifts given in memory of Mrs. Louann Layman Jordan Dale and Reggie Brown
Gifts given in memory of Virginia C. Stoltz Gloria Dougherty
Gifts given in honor of Gabriel J. Mastin Ms. Suzanne M. Karpus
Gifts given in memory of Joseph E. (Jay) Suiter Mrs. Celeste H. Holschuh Bobbie Kauffman Lois Kay Wayne Lawson and Bill Mitchell
Gifts given in honor of Gabriel J. Mastin’s work on the Trailblazer Tours Mr. Mark L. Miller Gifts given in memory of Violet Messick Mrs. Nancy Hamilton Gifts given in memory of Barbara A. Mustric CMA Women’s Board
Gifts given in honor of Matthew Walter Elizabeth Shedd Mykrantz Family Fund *Includes gifts received from 2.1.2019 – 3.31.2020
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Gifts given in memory of John E. Gotherman Kimberly Unti
Gifts given in honor of Ann and Ron Pizzuti Ms. Suzanne M. Karpus
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Gigi and Sam Fried J. Ronald Green and Louisa Bertch Green Ms. Peggy Mativi Mr. and Mrs. Neil K. Rector
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Carol and Fred Luper Nannette V. and George E. Maciejunes Laurie Mallach Peg Mativi and Donald Dick, In loving memory for all you did for the arts community Ms. Jennifer McNally and Dr. Michael Flamm Mrs. Jane P. Mykrantz and Mr. Kiehner Johnson Ann and Ron Pizzuti Norma Stern Postnieks Charles and Mary Rath Kenneth Ritt Ms. Ann B. Roth Tom and Lynn Ryan Dr. Lee Shackelford, in appreciation of Sylvia’s leadership for our arts community Kathy and Larry Shkolnik Mr. and Mrs. Zuheir Sofia Mr. John K. Stephan Mr. and Mrs. Seyman L. Stern Ms. Lonni J. Thompson The Twardy Family Mr. and Mrs. Michael A. Weiss Mr. Hugh N. Westwater and Mrs. Linda G. Larrimer David F. Williams Ms. Elizabeth Williams Franck and Leigh Ann Wobst Mrs. Joan Wobst Herbert and Janice Wolman CMA Women’s Board
480 E. Broad St. Columbus, OH 43215 614.221.6801 columbusmuseum.org
Richard G. and Mary Jo Seyler; Richard H. and Ann Shafer Fund II; Fund for Columbus; and Paul-Henri Bourguignon and Erika Bourguignon Fund for Visual Arts funds of The Columbus Foundation.
