JULE. Member Magazine for Jule Collins Smith Museum of Fine Art. Spring 2016.

SPRING 2016

MEMBER MAGA ZINE

JULE

OUT OF THE BOX

WINNERS

OF THE PLAINS A U F A C U L T Y

EXHIBITION

Dear friends and members,

J U L E CO L L I N S SM I T H MUS E UM OF FINE ART, AU B U RN U N I VERSI T Y M I S S I O N STAT EM EN T

Art changes lives. Our mandate within the larger mission of Auburn University is to preserve, enhance, research and interpret the collections entrusted to us.

Through the presentation of compelling exhibitions and programs to our diverse audiences, we foster the transformative power of art.

A DM ISSI O N

Free, c o u r t e s y o f t he JCS M B u s i n e s s Partne r S po ns o r s hi ps S TA FF

Janice A l l e n, f in an cial a d mi n i s t r a t o r Melai ne Be nne t t , develo p me n t o f f i c e r Robbi n Bi r m i ng ha m , exe c u t i v e s e c r e t a r y Scott Bi s ho p, curat or of e d u c a t i o n Rebecc a Br e s l e r, educat i o n a s s i s t a n t Matth e w Ca r m i c ha e l , se c u r i t y m a n a g e r Mike Co r t e z, in f orm at ion t e c h n o l o g y s p e c i a l i s t Cindy Co x , m em bersh ip o f f i c e r Debor a h Fr o j o , t our coo r d i n a t o r Danie l l e Fu nde r bu r k , re g i s t r a r Janet G u y nn, m useum d e s i g n e r Todd H a l l , preparat or Kate H a nc o c k Co l e , dev e l o p me n t c o o r d i n a t o r Denni s H a r pe r, curat or of collect ion s a n d e x h i b i t i o n s Charl o t t e R. H e ndr i x , co m m un icat ion s an d ma r ke t i n g Andre w H e nl e y, curat or o f e d u c a t i o n , K – 1 2 H ayle y H i l l be r g, m ult im e d i a s p e c i a l i s t Jessica H u g he s , curat ori a l a s s i s t a n t Laure n H o r t o n, even t s c o o r d i n a t o r Marilyn La u fe r, direct or Renee Ma u r e r, sh op m an a g e r E lla M c N e c e , securit y m a n a g e r Delanne Ro be r t s o n, assi s t a n t p r e p a r a t o r Andy Te nna nt , assist an t d i r e c t o r Marga r e t Wr i g ht , recept i o n i s t E DITO R Cha r l o t t e R. H e n d r i x DE SIGN Ja ne t G u y nn PHOTO GR A P H Y Mi k e C o r te z

jc sm.au burn.edu

For those of you who know me, you realize that I am inherently cautious when it comes to making big changes. I like to gather data, ask for lots of input, measure pros and cons, and develop a strong convincing case before acting. That said, I also know that the huge strides this museum has made over the last dozen years are the result of a positive, proactive attitude that has allowed our leadership team to meet each new challenge head-on. By doing so, JCSM has embraced innovation and advancement as we worked for the future success of this institution. So, with these thoughts in mind, I am presenting to you—our members and friends—some transformative proposals that we hope you will support and embrace as they take effect over the next few months.

To begin with, JULE, our award-winning member magazine, has garnered some high praise and great reviews since we launched it in the fall of 2013. We have received positive feedback about the well-written articles and interesting interviews that we regularly include. This year, we have decided to move to a biannual publication.

Our members can continue to look forward to in-depth reportage but this approach will now allow our staff to leverage the third publication every year as a thorough annual report. This new issue will provide us the space and time to recap the year’s many activities, compile a complete list of exhibitions, acquisitions, memberships, and acknowledge special donations, significant patronage and showcase institutional successes. As always, you can call the museum for information or refer to the continually updated JCSM website for exact programming and calendar information. I know this is going to be a good thing.

Over the last few months, museum staff, representatives from the Office of the University Architect, and a committee comprised of Advisory Board members have been working with consultants Guy Hermann and Jo-Anne Crystoff of Museum Insights to analyze the museum’s resources and physical constraints as they relate to our strategic planning goals, and to realistically study our prospects of achieving those goals. Identifying who we serve as Auburn University’s art museum and what is needed to better serve our many different constituents in the future has provided us solid groundwork for further dialogue. This important information was gathered through many hours of discussions with diverse local focus groups, interviews with our donors, evaluative surveys of our audiences, and engaging talented campus and community leaders who brought their diverse experiences and expertise to the conversation.

We also identified benchmark museums as part of the preparation for this report.

Our team conducted extensive site visits to the Frederick R. Weisman Art Museum at the University of Minnesota, the Georgia Museum of Art at the University of Georgia, and the Harn Museum of Art at the University of Florida. All three are very successful university art museums whose staffs shared with us the good and bad experiences of their day to day operations. It is interesting to note that each of these institutions over the last 20 years have had to expand their own facilities at least once in order to keep pace with their growing programmatic needs. More so, two are positioned as part of a dedicated cultural plaza for their universities, an important point that I will return to in a moment.

/ JCSMau burn For t o urs : JC S Mt o urs @a u b u r n . e d u ©2016 Jule Collins Smith Museum of Fine Art, Auburn University. Auburn University is an equal opportunity educational institution/employer.

ON T H E COV ER: H arold Eu gene “Doc ” Edgerton (A meri c a n, 1 9 0 3 – 1 9 9 0 ), Golf S wing, c a. 1938, v intage ferrotyped gelatin s ilv er p ri nt , i nsc ri b ed in penc il on v ers o: “B all hit on toe of c lu b” and “Simp so n, ” c o urt esy o f Charles I s aac s Photographs . © 2010 MI T. Cou rtes y of MIT Museum .

The recommendations that resulted from this yearlong exploration and examination of ourselves are challenging. The bottom line is that if we are to continue to provide excellent services for our diverse audiences, from both the campus and the community, we will need to consider expanding our physical building. Such an expansion would provide specific spaces that address our current educational programming needs of dedicated spaces for hands-on activities, seminar/art study areas, as well as provide critically important space for additional staff work areas and improved collections management. Besides enlarging our footprint, we would take the opportunity to resolve recurring issues of western light exposure and the poor acoustics in the Grand Gallery, Rotunda, and Carlisle Lobby. Such internal renovation would allow for a reconsideration of our galleries and special event spaces. After 12 years of constant facility usage, these collective suggestions for improvement are natural. In the next few months, we will need to decide if we can and should proceed and how we will address these very real problems and constraints that encumber us from reaching our fullest potential.

The fortuitous positioning of JCSM these many years ago at the southern approach to campus is proving to be providential as we are now an established anchor for the cultural gateway to campus. We welcome the possibility of a performing arts center joining us at this crossroad in the changing landscape of Auburn University.

The potential collaborative synergy for the future is extraordinary, and therefore it makes the identified need for the museum’s expansion all the more crucial. It is apparent we are on the brink of a transformative organizational opportunity that we cannot afford to miss.

This is a lot to think about, and I certainly welcome any and all comments, because without your full emotional support and vital financial commitment we are not going to be able to take this important next step in our history. So I ask that you join me in voicing my new mantra as we move into 2016: “Good isn’t good enough when better is expected.”

One last thing in closing: I want to thank Dr. Tommy Chase from the bottom of my heart for serving as our outgoing Advisory Board chair. His enthusiastic hard work during the last two years has been inspirational. Fortunately, he will continue to serve on the Advisory Board and provide us with his thoughtful deliberations and guidance. I also want to welcome our new co-chairs of the Advisory Board, Mark Jones and Bill Dunlop, both of whom I know to be ardent supporters of JCSM and through their good work will help guide us forward.

4 NEWS

7 EXHIBITIONS

13 RECENT ACQUISITIONS

14 CALENDAR

16 SPECIAL EVENTS

18 PROGR AMS

22 E D U C ATI O N

24 DEVELOPMENT

27 MEMBERSHIP

Be well and best wishes in the New Year,

Marilyn Laufer, PhD, director

J C SM A DV I S ORY B OA RD Mr. Davi d Br a l y

Mrs. Jenny Jenkins

Ms. H ele n Ca r l i s l e

M r. D a v i d E . J o h n s o n

Mr s. J ean e B. St on e

EX- O FFI C I O MEMBERS Al l yson C omst oc k

Dr. T hom a s M. Cha s e

M r. M a r k J o n e s , C o - C h a ir

EMERI TUS

Mrs. Patr i c i a Di s qu e

D r. Lyn n B a r s ti s Wi l l i a m s Kat z

Ms. Fr an D i l l ar d

Ms. Lady C ox

Dr. Ralp h Dr a u g ho n, Jr.

M r. R o g e r D. Le th a n d e r

Mr. Bat ey M. Gr esh am, J r.

D I REC TO R

Mr. Willi a m Du nl o p, Co - Ch a i r

Ms. Janet Nolan

Mr s. J oy Kl oess

D r. Mar i l yn Lauf er

Dr. Robe r t B. E k e l u nd

D r. S tu a r t Pr i c e

D r. Tayl or D. Li t t l et on

Mr. Jame s Fa r m e r

M r s . C a r o l yn B. R e e d

Mr. Wi l l i am V. Nev i l l e, J r.

Mrs. Diana G. H a g l e r

M r. Wi l l i a m C o l l i n s S m i th

Mr. Al ber t J. Smi t h , J r.

Mrs. Nanc y H a r t s fi e l d

M r. M a r k W. S p e n c e r

Mr s. Gen e H. Tor ber t

Dr. Edw a r d H a y e s

D r. Eu g e n e Ed w a r d S ta n al an d

Mr. C . Noel Wadsw or t h

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"I wanted to make sculpture that provided a point of contemplation…

I could step into it and be in another world."

Mike Wsol, first place winner, inside his sculpture, Lost Horizon #2

JUROR CITES “TRANSFORMATIVE POWER OF ART”

NEWS

IN NAMING “OUT OF THE BOX” WINNERS Eleven large-scale sculptures now welcome visitors to JCSM in the second installment of Out of the Box: A Juried Outdoor Sculpture Exhibition.

Co-curators Andy Tennant and Jessica Hughes invited contemporary artist and sculptor Willie Cole to jury the exhibition and visit Auburn to meet with faculty, students, and the community. Cole is best known for taking ordinary objects—such as irons, ironing boards, high-heeled shoes and bicycle parts—and transforming them into imaginative art.

Cole’s work is included in the collections of the Guggenheim Museum, the Metropolitan Museum of Art, Museum of Modern Art and the Whitney Museum of American Art, as well as Jule Collins Smith Museum of Fine Art. An exhibition featuring a survey of his work, titled Indelible Impressions: Selected Works by Willie Cole, runs through Sunday, Jan. 10, 2016 inside the museum.

It was that emotional, physical, and spiritual transformation that informed Cole’s decision to award Wsol the top prize. “I could step into it and be in another world. The inside was a different “When choosing others’ work for an kind of material than the outside,” he said. exhibition, and even when thinking about “I’m in nature at one point; I’m in a manmy own, I look for something that is made environment on the outside.” Cole transformative,” he said. “Next, I would said that the shape caught his attention as look at the piece in terms of storytelling. A the type that could exist through all times, lot of art is not abstract; it’s telling a story.” all decades, all millennia. “The piece had some storytelling suggestions that for me Mike Wsol of Lilburn, Georgia received related to the space program.” first place recognition for his sculpture, Lost Horizon #2. Wsol created the work Self-Portrait as Bunnies (The Bathers) from so that viewers may enter through a Alex Podesta took two awards: second small portal on the side and look out the place for the juried exhibition plus a fan exposed top of the piece. The inspiration favorite award voted on by the community. came from a realization he had while The sculpture is part of an ongoing series attending college. “I grew up in Chicago, in which the New Orleans, Louisiana and when I moved to Eastern Illinois artist draws parallels between the role of University, it was a very rural space,” he children’s imagination and how that plays a said. “I experienced the openness of part in the lives of adults. landscape in a way I never really did in “Rather than looking eye to eye, they are the city. I wanted to make sculpture that looking down. The eye line goes to the would provide a point of contemplation.”

Of the 11 sculptures selected as finalists from nationwide submissions and now displayed on the grounds of the museum, Cole named three winners.

Willie Cole

“The act of presenting cutting edge art is an international thing. Coming to a town and seeing that right away, you know you are not in Kansas anymore.”

—WILLIE COLE, juror Hanna Jubran, honorable mention winner, with his sculpture, Triad

Alex Podesta, Self-Portrait as Bunnies (The Bathers)

waterline,” Podesta explained. “They are engaging one another, but they’re a little ambivalent about it.”

Cole initially judged all the sculpture submissions from photographs, which he said threw him a bit when he first saw Podesta’s work, noting he actually believed it was performance art with two guys dressed as bunnies in the water.

“There’s a bit of deception as well as transformation,” he said. “When I saw that it was sculptural and engaged nature as well as having a strong illusionary quality to it, it appealed to me. I knew it was a conversation piece and that it would get people to respond.”

Cole said selecting the honorable mention award winner was most challenging, as he felt all the sculptures were worthy. He decided upon Triad by Hanna Jubran of Grimesland, North Carolina because he wanted a piece that engaged the environment and the scenery around it.

“Triad requires you to change your posture to experience it,” he said. “It becomes a

physical experience for the viewer. You have to look up at it as opposed to looking straight on.”

Jubran produced Triad from steel and paint and said he focuses on outdoor sculpture because of the versatility of the medium.

“Outdoor sculpture is important in the community because we rely on art to unify and define our society,” he said. “Having a museum in town and promoting art speaks about the richness of the culture.”

Cole agreed that having a museum as the cultural gateway to campus demonstrates how Auburn reaches beyond the region. “The act of presenting cutting edge art is an international thing,” he said. “Coming to a town and seeing that right away, you know you are not in Kansas anymore.”

Out of the Box is made possible in part with funds provided by Julian R. Haynes, in memory of Dr. Lucile McGehee Haynes, Grace and David E. Johnson and the Susan Phillips Educational Gift Fund. Grants from the Alabama State Council on the Arts and the National Endowment for the Arts support a portion of the artist awards.

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NEWS

Special T hanks

TO OUR MUSEUM TAILGATE SUPPORTERS UNIVERSITY

OF AUBURN

ENJOY THESE PICS FROM OUR COMMUNITY-WIDE CELEBRATION!

OUT OF THE BOX:

A JURIED OUTDOOR SCULPTURE EXHIBITION OCTOBER 2, 2015–OCTOBER 2, 2016 Lethander Art Path H eath Matys ek- Snyder, Kom í n y- NB S Ex p l or e

OUT OF THE BOX ARTIST TALKS Select artists from the 2015–16 Out of the Box will give lectures about their work, tracing the development of their art, and contextualizing their pieces now installed on the grounds of JCSM.

FEBRUARY 11, 5 P.M.

MARCH 3, 5 P.M.

MARCH 31, 5 P.M.

Mike Wsol, first-place winner

Hanna Jubran, honorable mention

Heath Matysek-Snyder, finalist

Mike Wsol is a multimedia artist whose work explores how architectural forms and cultural and political forces affect peoples’ lives and ability to function in different societies. His current projects take the form of interactive sculpture, computergenerated models, photographs, drawings, and renderings. Wsol has exhibited in New York, New York; Washington, D.C.; Atlanta, Georgia; Chicago, Illinois; and Miami, Florida, among other cities. Most recently, he presented solo exhibitions at Solomon Projects Gallery in Atlanta and at Tennessee Technological University in Cookeville, Tennessee. He received a M.Arch. from the University of Virginia, an M.F.A. in sculpture from the University of Georgia, and a B.A. and M.A. in three-dimensional studio from Eastern Illinois University. Wsol currently teaches three-dimensional studies at Georgia State University.

Hanna Jubran’s work addresses the concepts of time, movement, balance, and space. Each sculpture occupies and creates its own reality influenced by its immediate surroundings. He has participated in international sculpture symposia in Canada, Mexico, Lithuania, and Japan, and exhibited his art as far away as Estonia and Finland. Jubran received his M.F.A. in sculpture from the University of WisconsinMilwaukee and is currently a sculpture professor and sculpture area coordinator at East Carolina University.

Through a multi-faceted studio practice incorporating woodworking, furniture, design, and sculpture, Heath MatysekSnyder’s work investigates the bundling, stacking, and clustering of materials into and around forms. His materials take shape as furniture, as installation, and as interiorarchitecture. His most recent work explores themes of place and identity by embedding meaningful objects and artifacts within stacks of firewood. Matysek-Snyder earned his B.F.A. from Virginia Commonwealth University, and his M.F.A. from the University of Wisconsin-Madison. He has been an artist-in-residence at San Diego State University and at Designed Objects Tasmania, in Hobart, Tasmania, Australia.

He has been a participating artist at Emma International Collaboration, in Ness Creek, Saskatchewan. In 2010, he co-founded Drift Studio, a design studio and product incubator. Matysek-Snyder is an assistant professor at Virginia Commonwealth University’s School of the Arts. He teaches in the department of craft and material studies, where he is the wood/furniture design area head.

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W

Su e Coe, photograph b y S t ev e Hel l er Cou rtes y of Galerie St . Et i enne, New Yo rk

I n s t a l l at i o n of t h e 2012 D e par tm e nt o f A rt S t u di o F a c u lty E xhi bi ti o n

2016 AUBURN UNIVERSITY DEPARTMENT OF ART AND ART HISTORY

STUDIO FACULTY EXHIBITION JANUARY 23–MARCH 20, 2016 Bill L. Harbert Gallery and Gallery C The Department of Art and Art History at Auburn University is a vibrant community of artists and scholars who not only teach, they actively pursue their own art and research. Success of the department’s mission to foster learning in an environment of experimentation, innovation, creative inquiry, and critical thinking is demonstrated yearly in the distinctive work of its student body and graduates.

This triennial exhibition, featuring permanent studio faculty, adjunct instructors, and studio technical staff, is another vital expression of the faculty’s commitment and offers students the chance to observe directly the close relationship between classroom activity and creative practice. Moreover, the exhibition provides the larger community an insider’s look at significant art being produced at Auburn yet seen more often in venues outside the area. Showcasing recent paintings, sculpture, works on paper, ceramics, digital imagery, and other media, the exhibition reveals the breadth of interests and investigations by the Department of Art and Art History’s diverse studio faculty and staff.

An illustrated catalogue accompanies the exhibition, which highlights recent activity of the department’s art historians in addition to the exhibiting artists.

January 27 through March 9, Wednesday’s “A Little Art Talk” will be presented by faculty in the exhibition. Starting at Noon, “A Little Art Talk” lasts 15-30 minutes leaving ample time to drop by the Museum Café for lunch. Attendees will get free iced tea or coffee.

JANUARY 29, 6 P.M.

OPENING LECTURE: “ANIMAL FARM” WITH SUE COE Sue Coe's work is among the most politicallycharged art produced today. Born in England in 1951, she moved to New York in the early 1970s.

In the years that followed her art has been collected by numerous museums and featured in exhibitions, including a retrospective at the Hirshhorn Museum in Washington, D.C. Intended to be accessible and affordable, Coe’s etchings, lithographs, and woodcuts have become extremely popular.

While Coe’s work covers a variety of subjects, she has spent years documenting the atrocities committed by people against animals. Her book, Sheep of Fools, gives a broad history of sheep farming, and highlights the abuse of the animals for human gain.

The Galerie St. Etienne in New York exhibited ELEPHANTS WE MUST NEVER FORGET: New Paintings, Drawings, and Prints by Sue Coe and MAD AS HELL!, which was concurrently published in book form entitled, Cruel. The latter takes a critical look at the animal industry, and builds upon her groundbreaking 1996 book Dead Meat. Last year, Sue Coe was awarded the prestigious Dickinson College Arts Award in Carlisle, Pennsylvania.

Coe’s visit is made possible in part by a grant from Auburn University Special Lectures.

Please note that auditorium seating is limited and available on a first-come, first-served basis.

Advance registration is strongly encouraged online at jcsm.auburn.edu or by calling 844-3085.

FACE TO FACE:

ARTISTS’ SELF-PORTRAITS FROM THE COLLECTION OF JACKYE AND CURTIS FINCH JR.

APRIL 2–AUGUST 7, 2016 Bill L. Harbert Gallery and Gallery C On loan from the Arkansas Arts Center in Little Rock, the state’s premier institution for visual and performing arts, Face to Face showcases 70 revelatory drawings by modern and contemporary artists that illustrate the probing activity of self-portraiture. In this exhibition, traditional and innovative works on paper are paired with one another to compare and contrast these diverse artists’ wide range of stylistic, procedural, and material handlings, emotive or psychological bearing, and the varying conceptions of the “self.”

In his foreword to the catalogue accompanying the exhibition, Todd Herman, executive director of the Arkansas Arts Center, notes: Portraiture, self-portraits, and the human figure are some of the oldest subjects in art and yet artists continue to find new ways to show us what is so familiar…Within these pairings we find themes that we all know well: confidence, doubt, pain, joy, and the surreal…Which artist shares our sense of self? Art forces us to ask questions—it’s how we answer those questions that tells us a lot about ourselves and our society.

Part of an ongoing, larger gift to the Arkansas Art Center, these intriguing drawings were assembled by long-time collectors and Arkansas Arts Center patrons Jackye and Curtis Finch, Jr., who are crafting one of America’s great collections of graphic self-portraiture.

The exhibition, organized and circulated by the Arkansas Arts Center with guest curator Brad Cushman, features works by Robert Arneson, Milton Avery, Paul Cadmus, Diane Edison, Nancy Grossman, Alex Katz, and George Tooker, among many others.

I an I ngram (A meric an, b. 1974), Ea ste r Is l a n d , 2 0 1 1 , c harc oal, pas tel, and s ilv er leaf on paper

APRIL 8, 6 P.M.

OPENING LECTURE: “ME, MYSELF, AND I” WITH BRAD CUSHMAN Brad Cushman is a gallery director, curator, educator, and studio artist living in Little Rock, Arkansas. He received a B.A. in studio art from Illinois College, Jacksonville, Illinois, and an M.F.A. in painting from Cranbrook Academy of Art, Bloomfield Hills, Michigan.

As gallery director and curator at the University of Arkansas at Little Rock, Cushman has curated a variety of exhibitions, including Face to Face: Artists’ Self-Portraits from the Collection of Jackye and Curtis Finch Jr. (2013) for the Arkansas Arts Center. The exhibition will travel to The Baker Museum of Art, Naples, Florida, before coming to JCSM, after which it will travel to the Cummer Museum in Jacksonville, Florida.

B rad Cu s hman

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EXHIBITION PROGRAMMING

A sc e n e f ro m M r. Tu rn er

FILM@JCSM: PORTRAITS OF THE ARTIST

T heatric al p o st er f o r B a s q ui a t

SELECT THURSDAYS, 4 P.M. FILM@JCSM stands for “Fostering Interdisciplinary Learning through Movies.” The 2016 spring semester selections are programmed in conjunction with the 2016 Auburn University Department of Art and Art History Studio Faculty Exhibition and Face to Face: Artists’ Self-Portraits from the Collection of Jackye and Curtis Finch Jr. Each FILM@JCSM begins at 4 p.m. and will be introduced by a guest scholar. After the screening, there is café service and live music from 5 to 8 p.m. Admission is free, advance ticket reservation is encouraged. Reserve your tickets at jcsm.auburn.edu.

This project is co-sponsored by the Alabama Humanities Foundation, a state program of the National Endowment for the Humanities. A special thanks to Dr. Sunny Stalter-Pace, Auburn University English Department, for her curatorial and administrative efforts on this project.

MARCH 10, 4 P.M.

MRS. PARKER AND THE VICIOUS CIRCLE (1994) Biography/Drama | 125 min.

Introduced by Catherine Keyser, associate professor of English, University of South Carolina. Keyser’s book, Playing Smart discusses Parker in relation to other American modernist women writers.

Mrs. Parker and the Vicious Circle depicts writer Dorothy Parker and the members of the Algonquin Round Table, a group of writers, actors, and critics who met almost every weekday from 1919 to 1929 at Manhattan’s Algonquin Hotel. The film explores Parker’s poetry based on her experiences in Manhattan in the 1920s.

APRIL 7, 4 P.M.

BASQUIAT (1996) Biography/Drama | 108 min.

FEBRUARY 25, 4 P.M.

MR. TURNER (2014) Biography/Drama | 150 min.

Introduced by Leo Costello, associate professor of art history, Rice University. Costello has a background in 18th- and 19th-century British literature and art history, as well as a published book on Turner entitled J.M.W. Turner and the Subject of History.

Mr. Turner explores the last quarter century of the life of the great, if eccentric, British painter J.M.W. Turner (1775-1851).

Introduced by Jordana Moore Saggese, associate professor of contemporary art and theory, California College of the Arts.

Basquiat tells the story of the meteoric rise of youthful artist Jean-Michel Basquiat. Starting out as a street artist, living in Thompkins Square Park in a cardboard box, he’s discovered

by Andy Warhol’s art world and becomes a star. But success has a high price, and Basquiat pays with friendship, love, and eventually, his life.

WINTER DENIZENS, THE SWEET BIRDS SING

SELECTED WORKS FROM THE LOUISE HAUSS AND DAVID BRENT MILLER AUDUBON COLLECTION

JANUARY 30–MAY 15 Louise Hauss and David Brent Miller Audubon Galleries In Shakespeare’s Sonnet 73, he paints a stark metaphoric image of winter.

That time of year thou mayst in me behold When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold, Bare ruined choirs, where late the sweet birds sang.

Here in east-central Alabama, we are fortunate to be home to many feathered denizens of the winter landscape. This exhibition features 12 of John James Audubon’s prints from The Birds of America, including birds that inhabit our environs during the winter.

JOHN JAMES AUDUBON’S VIVIPAROUS QUADRUPEDS OF NORTH AMERICA: A CONTEXT John James Audubon said of his 1843 western journey, “I am going to collect all possible information about Quadrupeds during my stay here and from good sources.

My head is actually swimming with excitement and I cannot write any more.” Supported by his four traveling companions and a rugged array of American Fur Company hunters, the great American woodsman was the impresario of what became an excessive, indulgent sporting trip on an epic scale that resulted in some of the most vivid and appealing accounts of hunting, adventure, and wild animal life on the distant western prairies that had been published. His experience on the prairies also enabled him to render his lithographic images of the large predators and game animals all the more bold and charismatic.

—Daniel Patterson, from The Missouri River Journals of John James Audubon (2016) Da n i e l Pa t t e rson

John James A u du bon, Towhe Bunting, hand - c o l o red et c hi ng, aqu atint, and line engrav ing, Ju le Collins S m i t h Museum of Fine A rt, A u bu rn U niv ers ity, T he Lou is e Ha uss a nd D a v i d B rent Miller A u du bon Collec tion, 1992.1.1 . 6 9

APRIL 14, 5 P.M.

TALK: DANIEL PATTERSON “Oh that we had more guns!”: John James Audubon’s Missouri River Journals and His Hidden Conservation Ethic Ever since his childhood of perfect freedom to roam about the countryside of his western South Carolina home, Daniel Patterson has not ceased to be drawn to the natural world—or to books about it. He is now a scholar of early American natural history and nature writing and professor of English at Central Michigan University.

His books include Early American Nature Writers: A Biographical Encyclopedia and three volumes on the 19th-century American nature writer Susan Fenimore Cooper. Having completed, JJA's journal of 1826, Patterson immediately went to work on The Missouri River Journals of John James Audubon, which is due out this spring. He is now at work on a book that foregrounds the life of Audubon’s wife, Lucy Bakewell Audubon. Patterson and his wife, Alison Miller, live on a section of the Pine River in Michigan’s Lower Peninsula.

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COLLECTIONS

Roge r Shim o m ur a (Am e r i can, bo r n 1939), A me r ica n Guar d ia n, 2007, edition: 16/50, 7- c olor l i t h o gr aph, Jule C o l l i ns Sm i th M use um of Fine A rt, A u bu rn U niv ers ity; mu s eu m pu rc has e w ith f u n d s pr o vide d by the 1072 So ci e ty, 2011, 2011.1.05

Focus on the permanent collection Roger Shimomura, American Guardian

By Dennis Harper,

JCSM, Curator of Collections and Exhibitions

A third-generation Japanese American, Roger Shimomura was born in Seattle, Washington and has resided in Kansas since 1969 where he holds the position of Distinguished Professor Emeritus in Fine Art at the University of Kansas in Lawrence. Shimomura’s work in printmaking, painting, and performance art addresses the contradictions and prejudices that frequently characterize America’s cultural diversity.

Blending American Pop Art influences with 18th- and 19th-century Japanese woodcut traditions, Shimomura explores both the humor and tragedy that are part of his Asian-American identity.

American Guardian belongs to a group of images created in response to his family’s detention during World War II, when Shimomura was a young child.

Utilizing notes from his grandmother’s diaries along with his own recollections, Shimomura produced a haunting series of paintings and prints that reflect his upbringing in wartime internment camps in Washington State and Idaho, a period that lasted more than three years. In a composition that suggests the serene “pictures of the floating world” of Ukiyo-e prints, Shimomura contrasts the innocence of childhood with

the harsh realities of an anxious world. The lithograph’s palette of drab military colors combines with the unmistakable symbols of high-security imprisonment to instill in viewers a vicarious experience of the hardships such families endured.

Today’s world again abounds in anxiety-producing occurrences and harsh realities. News reports bear witness to heart-rending instances of international displacement, discrimination, intolerance, and violent acts of hatred. It is often remarked that man’s history is repetitious. George Bernard Shaw wrote, in Man and Superman, “If history repeats itself, and the unexpected always happens, how incapable must Man be of learning from experience.” As we engage in public debate over issues of immigration, the handling of refugees, and the extent of humanitarian duty, it is easy to lose touch with our common and natural compassion. Shimomura’s print is a graphic reminder to reflect on our own history and shared humanity while we face these unfortunately familiar challenges. Citing Shaw again, from The Devil’s Disciple: “The worst sin towards our fellow creatures is not to hate them, but to be indifferent to them: that’s the essence of inhumanity.”

RECENT ACQUISITIONS th e To r n a d o , 1 9 8 4 , 2 0 15. 24. 12

Roger Brown (American, 1941–1997) Galvanized Temple, 1985 Galvanized steel 40 ¼ x 38 ¼ x 53 ½ inches Gift of Greg Brown 2015.22 John Himmelfarb (American, b. 1946) Modern Burden, 2009 Ceramic 13 ½ x 19 x 8 inches Gift of Tom Butler and Marilyn Laufer in honor of Joyce and Roger Lethander’s Fiftieth Wedding Anniversary 2015.20 John Morgan (American, b. 1956) Artful Dodger, 2015 Poplar, basswood, lacewood, birch plywood, brass, copper, cast acrylic, enamel, and acrylic paint, driven by five electric motors controlled by switches, relays, and timers Ca. 36 x 21 ½ x 24 ¼ inches Museum purchase with funds provided by J. Mark Jones and Prestige Properties 2015.21 Florence Neal (American, b. 1954) Partial gift of the artist and museum purchase with funds donated in honor of Edward W. Neal, Class of 1950 17 prints: Brooklyn Bridge 100 Years, 1983 Edition: 7/20 Linoleum cut 7 x 7 inches 2015.24.1 Borba on the Niagara River, 1984 Edition: 7/20 Linoleum cut 7 x 7 inches 2015.24.2 Chinese New Year, 1983 Edition: 7/20 Linoleum cut 7 x 7 inches 2015.24.3

July 4th on the East River, 1985 Edition: 7/20 Linoleum cut 7 x 7 inches 2015.24.4 July 4th Through LaGuardia Houses, 1988 Edition: 7/20 Linoleum cut 7 x 7 inches 2015.24.5 Liberty Fireworks, 1987 Edition: 7/20 Linoleum cut 7 x 7 inches 2015.24.6 Red Mountain, 1986 Edition: 7/20 Linoleum cut 7 x 7 inches 2015.24.7 Villa d’Este 100 Years, 1984 Edition: 7/20 Linoleum cut 7 x 7 inches 2015.24.8 Waikiki New Year’s, 1984 Edition: 7/20 Linoleum cut 7 x 7 inches 2015.24.9

Winter Olympics on Lake Placid, 1984 Edition: 7/20 Linoleum cut 7 x 7 inches 2015.24.10 Conversation at Mt. Fuji, 2013 Edition: 10/18 Color woodblock print (Mokuhanga) 10 ¼ x 7 1/8 inches 2015.24.11 Duck Blind After the Tornado, 1984 Edition: 2/35 Linoleum cut 10 ½ x 14 inches 2015.24.12 Pine Bark, 2007 Edition: 2/35 Linoleum cut 8 ½ x 5 inches 2015.24.13 Riddled Ripples, 2006 Edition: 2/20 Linoleum cut 14 x 20 ¾ inches 2015.24.14

COLLECTIONS

F l o r en c e N e al , D u c k B li n d Aft er

Riddled Ripples––Gihon River, 2006 Edition: 1/6 Color woodblock print (Mokuhanga) 8 x 9 7/8 inches 2015.24.15 Through the Veneer, 1996 Edition: 8/10 Drypoint 9 ¾ x 12 ¾ inches 2015.24.16 Tuscan Cedars, 2005 Edition: 2/35 Linoleum cut 9 x 6 inches 2015.24.17 Carlton “Corky” Nell (American, b. 1962) Composition 199, 2007 Oil and wax on panel 6 x 10 inches Gift of Carlton Nell 2015.23

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10

07

05

Sunday EXHIBITIONS CLOSE: Along the Eastern Road and Indelible Impressions

5–8 p.m.

CAFÉ: Evening Menu, Live Music

Thursday, 12 p.m.

A LITTLE LUNCH MUSIC

Tuesday REGULAR HOURS RESUME FOR MUSEUM AND CAFÉ

Saturday–Sunday, 1–4 p.m.

HOLIDAY HOURS

Friday CLOSED: New Year’s Day

01 02–03

january

Wednesday, 12 p.m.

A LITTLE ART TALK

5–8 p.m.

CAFÉ: Evening Menu, Live Music

10

5 p.m.

SOUTHERN CIRCUIT TOUR OF INDEPENDENT FILMMAKERS: Art and Craft

Thursday, 12 p.m.

A LITTLE LUNCH MUSIC

Wednesday, 12 p.m.

A LITTLE ART TALK

Monday ONLINE EXHIBITION OPENS: #NOFRAME

03 04

01

february

5–8 p.m.

CAFÉ: Evening Menu, Live Music

31

5–8 p.m.

CAFÉ: Evening Menu, Live Music

5 p.m.

ARTIST TALK: Heath Matysek-Snyder

Thursday, 12 p.m.

A LITTLE LUNCH MUSIC

6:30 p.m.

POETRY: Dan Albergotti

5–8 p.m.

CAFÉ: Evening Menu, Live Music

5 p.m.

SOUTHERN CIRCUIT TOUR OF INDEPENDENT FILMMAKERS: Embers

Thursday, 12 p.m.

A LITTLE LUNCH MUSIC

Sunday EXHIBITIONS CLOSE: AU Faculty Exhibition and Lost Bird Project

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20

Tuesday–Friday CAFÉ: Closed for Spring Break

5–7 p.m.

Business Partners appreciation reception

15–18

4 p.m.

FILM@JCSM: Mrs. Parker and the Vicious Circle

Thursday, 12 p.m.

A LITTLE LUNCH MUSIC

Wednesday, 12 p.m.

A LITTLE ART TALK

09 10

Monday–Friday SPRING MEMBERSHIP DRIVE: 10% off annual membership

07–11

5–8 p.m.

CAFÉ: Evening Menu, Live Music

Thursday EXHIBITION OPENS: Teen Takeover

5–8 p.m.

CAFÉ: Evening Menu, Live Music

Thursday, 6:30 p.m.

POETRY: L.S. McKee

Sunday EXHIBITION CLOSES: Winter Denizens and Viviparous Quadrupeds

Thursday, 5–8 p.m.

CAFÉ: Evening Menu, Live Music

Thursday, 5–8 p.m.

CAFÉ: Evening Menu, Live Music

Thursday, 5–8 p.m.

CAFÉ: Evening Menu, Live Music

12:30 p.m. stART! BEGINS Sunday EXHIBITION CLOSES: Teen Takeover

05

Saturday, 10 a.m.

ARTYPANTS BEGINS

Friday, 1 p.m.

STATE OF CREATE BEGINS

03 04

02

june

26

19

15

12

05

may

spring 2016

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30

29

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LAST DAY FOR DONATIONS TO 1072 SOCIETY 2016

Sunday, 1:30 p.m.

K-12 ART CLUB: Install a Wall

Saturday EXHIBITIONS OPEN: Winter Denizens and Viviparous Quadrupeds

Friday, 6 p.m.

OPENING LECTURE: Sue Coe, “Animal Farm”

5–8 p.m.

CAFÉ: Evening Menu, Live Music

Thursday, 12 p.m.

A LITTLE LUNCH MUSIC

Wednesday, 12 p.m.

A LITTLE ART TALK

Sunday EXHIBITION CLOSES: 1072 Society Exhibition

Saturday EXHIBITION OPENS: AU Faculty Exhibition

6:30 p.m.

POETRY: Richie Hofmann

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5–8 p.m.

CAFÉ: Evening Menu, Live Music

Thursday, 12 p.m.

A LITTLE LUNCH MUSIC

5–8 p.m.

CAFÉ: Evening Menu, Live Music

Thursday, 12 p.m.

A LITTLE LUNCH MUSIC

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14

7 p.m.

JAY SANDERS FILM SERIES: Travis Vogan

1:30 p.m.

K-12 ART CLUB: Marching Maquettes

Sunday, 1 p.m.

FILM: National Gallery

5–8 p.m.

CAFÉ: Evening Menu, Live Music

06

5 p.m.

ARTIST TALK: Hanna Jubran

Thursday, 12 p.m.

A LITTLE LUNCH MUSIC

Wednesday, 12 p.m.

A LITTLE ART TALK

02 03

5–8 p.m.

CAFÉ: Evening Menu, Live Music

4 p.m.

FILM@JCSM: Mr. Turner

Thursday, 12 p.m.

A LITTLE LUNCH MUSIC

Wednesday, 12 p.m.

A LITTLE ART TALK

march

21 24 25

6:30 p.m.

POETRY: Frank X. Walker

Sunday, 1:30 p.m.

K-12 ART CLUB: Painting

5–8 p.m.

CAFÉ: Evening Menu, Live Music

Thursday, 12 p.m.

A LITTLE LUNCH MUSIC

17 18

5–8 p.m.

CAFÉ: Evening Menu, Live Music

Wednesday, 12 p.m.

A LITTLE ART TALK

5 p.m.

ARTIST TALK: Mike Wsol

Thursday, 12 p.m.

A LITTLE LUNCH MUSIC

11

5–8 p.m.

CAFÉ: Evening Menu, Live Music

5 p.m.

SOUTHERN CIRCUIT TOUR OF INDEPENDENT FILMMAKERS: Kings, Queens & In-Betweens 5–8 p.m.

CAFÉ: Evening Menu, Live Music

Thursday, 12 p.m.

A LITTLE LUNCH MUSIC

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Sunday, 1:30 p.m.

K-12 ART CLUB: Face to Face: The Art Club

6:30 p.m.

POETRY: Cecilia Llompart

24

5–8 p.m.

CAFÉ: Evening Menu, Live Music

Thursday, 12 p.m.

A LITTLE LUNCH MUSIC

5–8 p.m.

CAFÉ: Evening Menu, Live Music

21

5 p.m.

BOOK TALK: Daniel Patterson, “Oh that we had more guns!”

Thursday, 12 p.m.

A LITTLE LUNCH MUSIC

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Friday, 6 p.m.

OPENING LECTURE: Brad Cushman, “Me, Myself, and I”

08

4 p.m.

FILM@JCSM: Basquiat

Thursday, 12 p.m.

A LITTLE LUNCH MUSIC

Saturday EXHIBITION OPENS: Face to Face

07

02

april Thursday, 5–8 p.m.

CAFÉ: Evening Menu, Live Music

Thursday, 5–8 p.m.

CAFÉ: Evening Menu, Live Music

12:30 p.m. stART!

Thursday, 5–8 p.m.

CAFÉ: Evening Menu, Live Music

12:30 p.m. stART!

30

Thursday, 5–8 p.m.

CAFÉ: Evening Menu, Live Music

12:30 p.m. stART!

Saturday, 10 a.m.

ARTYPANTS

Friday, 1 p.m.

STATE OF CREATE

24 25

23

Saturday, 10 a.m.

ARTYPANTS

Friday, 1 p.m.

STATE OF CREATE

17 18

16

Saturday, 10 a.m.

ARTYPANTS

Friday, 1 p.m.

STATE OF CREATE

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Li t t l e A c o rn P ho t o g ra p hy

“Our wedding day lived up to and surpassed every little girl dream I had about my wedding day.”

EVENTS SPECIAL

—Rebekah Dyer, bride

C a nd ac e N e l son P ho to gr aphy

“We absolutely loved having our reception at the Jule Collins Smith Museum of Fine Art. The staff was very helpful with our planning, the food was excellent, the view was beautiful, and you cannot ask for nicer aesthetics anywhere in Auburn.”

—James Hammond, groom “The Jule Collins Smith Museum was absolutely stunning with a view of the sunset no matter where you were! The celebration fit so beautifully there with the twinkle lights strung over the patio dance floor, view of the lake and sunset, a light color palette, and delicate flowers!”

Little A c orn Photography

—Hannah Nowill, photographer

a work of

Janet Gu ynn Photography

A l e a M oo re P h o to gr aphy

For venue rental information contact Lauren Horton.

334.844.3488 |laurenhorton@auburn.edu |jcsm.auburn.edu/facility-rental

MUSEUM SHOP

Th e Bu rst C ol l e c t i on w as cr e ate d i n 2004. E ach Bur st piec e is b a s ed on a u n i q u e d e sign. Indi vidual wax m o de l s are c reated by h a n d , t h e n c ast u si n g the L o st Wax pr o ce ss and f inis hed. Ev ery Bur s t t h a t i s c raf t e d m ay var y the sl i ghte st bit f r o m the nex t.

ART YOU C A N W E A R :

INTRODUCING STEPHANIE EDSTROM

Auburn designer’s handcrafted collections now available in The Museum Shop I grew up with creative hands, always drawing funky little doodles or sketching a still life; paints, canvas, crafts, and photos all became my playground. Composition was second nature for me, effortless, like my expressive style. In 2002, I discovered a deep appreciation for jewelry making.

Creating ornaments from precious metals is an apt metaphor to describe my passion for finding beauty and transformation everywhere. My love for design, composition, crafting, creating, and sharing resounded with techniques using natural elements and found forms. All this seemed to harmonize with carved wax molds, molten metals, and man-made materials; I knew I’d found my calling! Designing and creating jewelry incorporates my talents, rings true to my passion, and brings forward the beauty I feel is in everything—and everyone.

My father, my greatest influence, has always been a practical artist. I grew up surrounded by his gifts for architecture, engineering, teaching, and building. He designed and constructed the house in which I was raised, in Atlanta. I have always admired him and appreciated his work. Early on, he recognized something special in me and became a creative champion in my life, encouraging my development as an artist and as a person. We visited museums together, discussed architecture, and had wonderful conversations, sharing the feelings art elicits, sharing an appreciation for beautiful things. He encouraged me to broaden my horizons, develop new skills, refine my talents and continue formal schooling with art classes. I studied among other things, photography, at the Atlanta College of Art. My father’s example, guidance, and craftsmanship combined with my natural inclinations to foster a deep appreciation for aesthetics and the processes of creativity.

My father’s tutelage nurtured my love for art and sculpture; he very wisely supported my dreams.

At college, I decided on a fine art major. This plunged me in-depth into many forms of media that I hadn’t fully explored. One particular sculpture class involved welding and bronze casting.

I was fascinated by the techniques used to tame the materials—these quickly became my favorite sculpting methods. I took more photography classes and rediscovered my love for developing and modifying images in the dark room. I found the fine art major comprehensive and integral, allowing my creativity to wander freely through different media. While I was learning art history, participating in drawing classes, and mastering the subtleties of form and composition I was also growing in the creative process and its eventual refinement to gallery presentation. Learning many disciplines gave me a well-rounded education which, in-turn, opened up new sensational possibilities. And yet, there was one jewelry class that I really enjoyed in particular. That joy still resonates in me today. But like every artist, I had to struggle first.

Stephanie Eds trom, jew el ry d esi g ner

Designing and creating is life affirming for me; my creations are an expression to define who I am to others. Making jewelry became a profound personal journey. In the past, I had difficulty identifying with retail jewelry on a personal level and ended up purchasing whatever was available.

But now here I am—a jewelry designer, expressing love and transformation through the talent and beauty each of us has; the passion, creativity and joy that inspires us to be unique. I enjoy wearing my own creations, and I’m inspired to create jewelry that women can connect with, personally.

Find Edstrom’s Burst Collection, Spice Collection, and Shapes Collection just in time for Valentine’s Day, Mother’s Day, birthdays, or just because! Remember, museum memberships come with discounts of either 10% or 15% depending on your level. See our membership brochure at the front desk or jcsm. auburn.edu for more.

I n the Spic e Collec tion, Ed st ro m w o rk s w i t h s terling s ilv er and organi c el em ent s.

Once again I have to thank my father for his guidance. He thought I should have an excellent education, as well as the ability to support myself as a starving artist! I graduated from Flagler College in 1998 with a fine art major, concentration in photography, and a minor in graphic design. I then worked for a few years as a graphic designer in advertising. My husband and I moved to Palm Beach Gardens, Florida in 2001 where I began taking jewelry studio classes at The Armory Art Center (TAAC) in West Palm Beach. For the next couple of years, I participated in various jewelry workshops and pursued many diverse classes offered at TAAC. I excelled in fabrication skills and design style, receiving acclaim from my peers and instructors. There was no doubt that this art form afforded me a confidence and creative sense of freedom in which I could fully express myself. I was transformed in this freedom! I had several breakthroughs as a true artist, and felt “completion” in my heart.

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FILMS

A r t a nd Cr a f t pos ter

JCSM brings in contemporary filmmakers to meet with students and museum visitors for a special screening of their film. Southern Circuit screenings are funded in part by a grant from South Arts in partnership with the National Endowment for the Arts. Films begin at 5 p.m. on select Thursdays. Live music and café service will follow the screenings until 8 p.m. Admission is free. Advanced ticket reservation is encouraged. Reserve your tickets on the event calendar at jcsm. auburn.edu.

FEBRUARY 4, 5 P.M.

ART AND CRAFT (2014)

Documentary | 89 min.

Mark Landis has been called one of the most prolific art forgers in U.S. history.

His impressive body of work spans 30 years, covering a wide range of painting styles and periods that includes 15th–century icons, Pablo Picasso, and even Walt Disney. Landis’ decades-long ruse is put in jeopardy after duping Matthew Leininger, a tenacious registrar who sets out to expose him. Art and Craft starts out as a cat-and-mouse art caper, rooted in questions of authorship and authenticity—but what emerges is an intimate story of obsession and the universal need for community, appreciation, and purpose.

About the filmmakers…

Sam Cullman is a cinematographer, producer, and director of documentaries with over a decade of experience. He co-directed, shot, and produced If a Tree Falls, which won the U.S. Documentary Editing Award at the 2011 Sundance Film Festival, and received an Academy Award nomination. Recently, Cullman produced and shot The House I Live In, the Sundance Grand Jury Prize winner.

Cullman’s cinematography has appeared in dozens of documentaries including King Corn, Why We Fight, and Black Cherokee. A graduate of Brown University, Cullman currently lives and works in Brooklyn, New York.

Jennifer Grausman directed and produced the Emmy-nominated feature documentary, Pressure Cooker. The film garnered awards from festivals across the United States, opened theatrically, and was broadcast on BET. Grausman co-produced the feature 3 Backyards, which won Best Director at the 2010 Sundance Film Festival. Grausman was co-director of The Screenwriters Colony in Nantucket, Massachusetts from 2010 to 2012. She earned her B.F.A. in art history at Duke University, and her M.F.A. at Columbia University.

MARCH 24, 5 P.M.

EMBERS (2015)

Documentary | 89 min.

After a global neurological epidemic leaves the world without memory, the people who remain search for meaning and connection. Five interwoven stories explore how we might learn, love, and communicate in a future that has no past.

About the filmmaker…

Claire Carré is a filmmaker based in New York. Carré has traveled around the world as a director of music videos, fashion films, and commercials. She is a Fellow of the 2014 Independent Filmmaker Lab and was nominated for the 2014 Gotham Awards Spotlight on Women Filmmakers Grant. Embers is her first feature film.

Embe r s film s till

TICKETS Advance registrations are encouraged for our programs via the calendar at jcsm.auburn.edu.

JAY SANDERS FILM SERIES MARCH 7 AT 3 P.M. Each year, the Jay Sanders Film Series brings a media professional to campus to work with students. The 2016 guest lecturer for the Jay Sanders Film Series will be Travis Vogan.

K i n gs , Q u een s & In-Bet w ee ns film s till

APRIL 28, 5 P.M.

KINGS, QUEENS & IN-BETWEENS (2015) Documentary | 100 min.

Through the compelling personal stories of eight drag performers and their troupes, Kings, Queens & In-Betweens makes a complex subject approachable for mainstream audiences—inviting viewers into a conversation about the distinct and important differences between gender, sex, and sexuality. With an upbeat and inclusive tone, KQIB gives rare insight into an underground scene, answering questions, and addressing misconceptions about gender and gender performance. The film highlights the diversity of human possibilities, and captures how a midwestern city full of terrific performers tackles complexities of gender expression, personal identity, and human rights—all with humor, great music, big hair, and duct tape.

About the filmmaker…

KQIB is Gabrielle Burton’s documentary feature debut. Her narrative feature and short film credits include: Manna from Heaven, Temps, Just Friends, The Happiest Day of his Life, and Letting Go of God. Recently, Burton produced the micro-documentary “ALS: Toward Finding a Cure,” and directed episodes of Old Guy. She is currently producing Half the History, a series of short videos in partnership with Tufts University. After attending the Radcliffe Institute for Advanced Study at Harvard University and Berklee College of Music, she won a Rotary Scholarship to study film in France. Burton is passionate about art and social change, and she’s heavily involved in political grassroots activism in Ohio. In 2013, Burton gave a TEDxTalk on gender expression and identity.

Travis Vogan is an assistant professor in the School of Journalism & Mass Communication and the Department of American Studies at the University of Iowa. He is the author of Keepers of the Flame: NFL Films and the Rise of Sports Media and ESPN: The Making of a Sports Media Empire. Beyond his books, Vogan has published research in Convergence, Journal of Sport History, Communication & Sport, Popular Communication, The Moving Image, Digital Journalism, International Journal of Sport Communication, and other venues. He is co-editor of the University of Illinois Press book series Studies in Sports Media and is currently serving as the Film, Media, and Museum Reviews editor for Journal of Sport History.

The Jay Sanders Film Festival was founded in 1998 to honor the late Professor Emeritus Jay Sanders, who initiated film studies at Auburn University in the mid-1950s. The inauguration of the series occurred in 2013, when organizers added networking opportunities for students. The visit is sponsored by Auburn University College of Liberal Arts, School of Communication and Journalism and JCSM.

SEE THE INNER WORKINGS OF ONE OF THE GREATEST MUSEUMS IN THE WORLD MARCH 6, 1 P.M.

NATIONAL GALLERY (2014)

Documentary | 180 min.

Frederick Wiseman’s National Gallery takes the audience on a journey to the heart of The National Gallery in London. The museum is inhabited by masterpieces of Western art from the Middle Ages to the 19th Century. National Gallery is the portrait of a place, its way of working and relations with the world, its staff and public, and its paintings. In a perpetual and dizzying game of mirrors, film watches painting watches film.

Na t i o n a l G a l l e r y f i l m stil l

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READINGS & TALKS THIRD THURSDAY POETRY SERIES A new lineup of visiting poets to our area is slated for the spring 2016 installment of the Third Thursday Poetry Series. Once again, faculty designers from Auburn’s College of Architecture, Design, and Construction created eight broadsides representing works by each of the poets participating in the series. A limited number of prints and sets will be available for sale in the Museum Shop and at jcsm.auburn.edu/gift-shop.

Please note, because of Auburn University’s Spring Break, the reading in March is scheduled for the fourth Thursday in March.

JANUARY 21, 6:30 P.M.

FEBRUARY 18, 6:30 P.M.

MARCH 24, 6:30 P.M.

RICHIE HOFMANN

FRANK X. WALKER

DAN ALBERGOTTI

Richie Hofmann’s first collection of poems, Second Empire, was published this year. He is the recipient of a Ruth Lilly Poetry Fellowship, and his poems appear in the The New Yorker, The Kenyon Review, The New Republic, Ploughshares, New England Review, Yale Review, and Poetry. His work has been featured in The New York Times Style Magazine, Poetry Daily, and the Academy of American Poets Poem-a-Day. Recently, his poem, “After” was selected for inclusion in the anthology, Best New Poets 2014. A graduate of the Johns Hopkins University Writing Seminars, he is a doctoral student at Emory University, where he has held the Creative Writing Fellowship in Poetry and teaches in The Kenyon Review young writers workshop.

The most recent Poet Laureate of Kentucky, Frank X. Walker is the author of eight poetry collections, including About Flight, The Affrilachian Sonnets, and Turn Me Loose: The Unghosting of Medgar Evers, winner of the 2014 NAACP Image Award for Outstanding Literary work in Poetry. Walker is the founding editor of Pluck!

The Journal of Affrilachian Arts & Culture, and co-founder of the Affrilachian Poets and is a Cave Canem Fellow. He is known internationally for his unique approach to teaching writing and numerous literary accomplishments, most famously creating the word “Affrilachia.” The term unifies Appalachian identity and the region’s African-American culture and history, and is now included in the Oxford American Dictionary. Walker has lectured, conducted workshops, and read poetry across the globe in national conferences and numerous universities.

He is currently a professor in the Department of English and the African American and Africana studies program at the University of Kentucky.

Dan Albergotti is the author of The Boatloads, Millennial Teeth, as well as a limited-edition chapbook, The Use of the World. His poems have appeared in The Cincinnati Review, Five Points, The Southern Review, The Virginia Quarterly Review, two editions of Pushcart Prize, as well as other journals and anthologies. A graduate of the M.F.A. program at the University of North Carolina at Greensboro, and former poetry editor of The Greensboro Review, Albergotti is a professor of English and chair of the English department at Coastal Carolina University.

TICKETS Advance registrations are encouraged for our programs via the calendar at jcsm.auburn.edu.

A LITTLE LUNCH MUSIC The popular weekly lunchtime music series returns this spring starting January 7 at noon. Below are scheduled performers to date, with additional performers noted at jcsm.auburn.edu. Lunch is served from 11 a.m. to 2 p.m., so there’s time to enjoy the Museum Café and walk through the galleries before or after the performance.

APRIL 21, 6:30 P.M.

MAY 19, 6:30 P.M.

CECILIA LLOMPART

L.S. MCKEE

Cecilia Llompart was born in Puerto Rico and raised in Florida. She received her B.F.A. from Florida State University and her M.F.A. from the University of Virginia. Llompart’s first collection, The Wingless, was published in spring 2014. She is the recipient of two awards from The Academy of American Poets, and her work is included in various forthcoming anthologies. Her poems have appeared in journals such as Gulf Coast, TriQuarterly, The Caribbean Writer, and WomenArts Quarterly Review, as well as online at Poets.org and Verse Daily. Llompart’s recent endeavors include serving as guest editor for an issue of Matter: A Journal of Political Poetry and Commentary, serving as chair of creative writing for The Blue Ridge Summer Institute for Young Artists, interning with the Paris Poetry Workshop, and founding New Wanderers: a nomadic poetry collective.

L.S. McKee’s work has appeared or is forthcoming in Crazyhorse, Blackbird, Birmingham Poetry Review, Gulf Coast, New England Review, Ninth Letter, Indiana Review, and Appalachian Heritage, among others. She received her M.F.A. from the University of Maryland and was a Wallace Stegner Fellow in poetry at Stanford University. McKee has taught internationally in France, Germany, the Netherlands, and South Korea. She has received scholarships, grants, and awards from the Sewanee Writers’ Conference, Bread Loaf Writers’ Conference, Berea College’s Appalachian Sound Archives, and the Dorothy Sargent Rosenberg Memorial Fund. Originally from East Tennessee, she teaches at the University of West Georgia and lives in Atlanta, where she is co-founder of Narrative Collective at the Goat Farm Arts Center.

January 7 Pianist Edward Forstman January 14 Guitarist Katie Holmes January 21 Violinist and vocalist Macie Stewart, bassist Charlie Kirchen, and guitarist Steve Marquette January 28 Flutist Nancy Vinson and pianist Laurelie Gheesling February 2 Baritone James Wilson, pianist David Richardson, and the art of Joshua Nobiling (multimedia) February 11 Trombonist Jeff Albert and drummer Dave Capello February 18 David Banks Gospel Jazz Ensemble March 24 Montgomery Music Project

SUMMERTIME, AND OUR SCHEDULE IS EASY With vacations planned and lazy days of summer ahead, Thursday night programming is following suit in May and June. The galleries will remain open from 5 to 8 p.m., but instead of a regular 5 p.m. program, you can enjoy an easygoing time with live music, café service, and the pleasure of your friends’ company. Weather permitting (when it’s not too hot!), enjoy conversations on the terrace or take advantage of the cafe seating in the Carlisle Lobby while you kick back in the cool AC.

April 7 Soprano Noemí de Silva and pianist Nicole Agostino April 21 Auburn University Chamber Choir and East Gaston High School Choir

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SPRING ART CLUBS During the spring, art clubs at JCSM are held on Sundays, from 1:30–3 p.m. Register through the website to reserve your space. Parents and guardians are asked to stay with their child as they work on the project.

JANUARY 31 INSTALL A WALL

Come check out the new exhibition of work by Auburn University faculty, and create your own miniature curated exhibition.

FEBRUARY 21 RUNNING COLORS

We’ll be using watercolors on this day to paint abstractly

MARCH 6 MARCHING MAQUETTES!

Small sculptures are the name of the game today! March on over to JCSM to build some tiny sculptures.

APRIL 24 FACE TO FACE: THE ART CLUB

After finding inspiration in the exhibition Face to Face, we’ll make self-portraits of our own in mixed media.

SUMMER ART CLUBS Our ever-popular summer art club series kicks off on Fridays and Saturdays June 3–4. Parents are asked to join in the fun for Artypants and stART! Online registration and program details will be coming soon to jcsm.auburn.edu. For information, contact the education department at 334-844-3486.

STATE OF CREATE—RISING 7 TH –12 TH GRADERS SESSIONS BEGIN FRIDAY, JUNE 3

State of Create is an exciting drop-in art club for teenagers. With the support of experienced staff members, we’ll explore challenging materials, professional techniques, and new art forms. Come join us each Friday (except for July 3) from 1 p.m. to 2:30 p.m.

ARTYPANTS—RISING K–2 ND GRADERS SESSIONS BEGIN SATURDAY, JUNE 4

Those smarty arty kids have plenty to do at JCSM on Saturday mornings!

ArtyPants gives your child the opportunity to explore a wide range of materials, make new friends, and create their own art. Come join us each Saturday (except for July 4) from 10 a.m. to 11:30 a.m.

START!—RISING 3 RD –6 TH GRADERS SESSIONS BEGIN SATURDAY, JUNE 4

For the growing learner, stART! gives your child the opportunity to expand their knowledge of materials. Students will begin considering more advanced applications of the elements of art such as color, line, and shape, as well as the principles of design including harmony and balance. Come join us each Saturday (except for July 4) from 12:30 p.m. to 2 p.m.

TICKETS

JCSM is hosting our first online juried exhibition for local teens! #NOFRAME will include digitally created works of art made by local 6 through 12 graders, and will be “installed” on the website beginning February 1. At this time, winners from each category (6th–7th grade, 8th–9th grade, 10th–12th grade, and Best in Show) will be selected and will receive prizes.

Advance registration is encouraged for our programs via the calendar at jcsm.auburn.edu.

Visit jcsm.auburn.edu/noframe and on social media #jcsmNOFRAME to find out the winners and to view all of the works of art submitted by the teens!

For more information on either of these programs, contact Andrew Henley, education curator, K–12, at andrew.henley@auburn.edu.

JCSM.AUBURN.EDU/NOFRAME @JCSMauburn #jcsmNOFRAME Like us on

#NOFRAME is supported by a charitable gift from Cameragraphics, Inc. through the JCSM Business Partner Program.

EDUCATION

CALL FOR SUBMISSIONS

2015 Te e n Take ov e r rec ep t i o n

TEEN TAKEOVER 2016

LOUISE HAUSS AND DAVID BRENT MILLER AUDUBON GALLERIES

Our local teenagers are taking over again! Last year’s takeover was warmly received, and we’re looking forward to seeing what participants create this year.

Students will have a warm-up workshop, followed by an overnight art-making marathon. After a day off, the kids will come back, and we’ll install the exhibition. The works will be on view May 26 through June 5.

TAKEOVER

23

THE DATES ARE SET FOR JCSM’S SPRING MEMBERSHIP DRIVE Is your membership about to expire? Do you have someone you would like to give the gift of membership to JCSM? Mark your calendar for the week of March 7 through March 11 for the spring membership drive. During the week, new or returning members will receive 10 percent off annual memberships.

For levels and benefit information, go to jcsm.auburn.edu/membership.

FROM THE OFFICE OF DEVELOPMENT For the Fiscal Year from Oct. 1, 2014, to Sept. 30, 2015: JCSM attendance figures: 36,828 visitors Development funds raised: $2,953,091 Household memberships: 634 Student members: 768 1072 Society 2016 donors: 37* 1072 Society 2016 funds raised: $39,292*

*as of Nov. 5, 2015

Thank you for your investment in JCSM. Your support makes it possible for the museum to continue its free programming and online student memberships. It helps make it possible to continue to build our fine collection of art for Auburn University. And, it allows JCSM to serve thousands of people each year as the preeminent cultural and art educational provider in our area. We hope you will continue to help cultivate the many opportunities the museum makes possible to our community through a gift to JCSM. There are many ways to contribute to JCSM and we will be happy to talk to you about the options available. For more information or an appointment contact us at 334.844.1675.

because.auburn.edu/jcsm

MELAINE BENNETT Development Officer mbennett@auburn.edu

JCSM WOULD LIKE TO EXTEND OUR THANKS TO OUR GENEROUS DONORS Giving to JCSM on behalf of friends or loved ones is a wonderful way to honor or remember their passion for art and philanthropy.

Ms. Julie Perryman, in honor of Roger and Joyce Lethander on the occasion of their 50th anniversary.

IN MEMORY OF DR. LEONARD LAROUX Ms. Alice Bilderback Mrs. Ingrid T. Doerstling Mr. and Mrs. John P. Hartsfield ‘56 Mrs. Tee C. Kern Mrs. Charlotte L. LaRoux Ms. Sandra S. Leavell Dr. and Mrs. Terry C. Ley Murphree Chiropractic Mr. and Mrs. Don S. Seay ‘65 Mr. and Mrs. Terry Smith Mr. and Mrs. James Noel Wilmoth IN MEMORY OF JULE COLLINS SMITH Ms. Virginia Abercrombie

Ms. Nancy Abraham Dr. and Mrs. Milton J. Alexander Mr. and Mrs. Robert Benjamin Ms. Joyce H. Blake Dr. and Mrs. Gary Brock Mr. and Mrs. Jim Buchanan

Mrs. Lily G. Carrigan Mr. and Mrs. David Cesak

Mrs. Lisa Lowrance Clemenceau Mr. and Mrs. Robert Coale Jr. Ms. Nicole Colby Mr. and Mrs. Jim Connell

Ms. Marian Davenport Mr. and Mrs. E. Ted Davis

Mr. and Mrs. William E. Dillard Jr. ‘47 Mrs. Martha G. Dougherty

Ms. Barbara B. Dundas Mr. Francis William Dunlop

Mrs. Virginia A. Elkins Mr. and Mrs. Don Faust Mr. and Mrs. Richard Ghignone

SMITH GIFTS CONTD. Ms. Lainie Gordon Mrs. Carline Ramage Green ‘56 Mrs. Jean L. Hanson ‘78 Mr. and Mrs. John P. Hartsfield ‘56 Ms. Kimberly Hemenas Dr. and Mrs. James M. Jenkins Jr. ‘64 Mr. and Mrs. Alex Johnson Ms. Julia B. Jordan Ms. Carla Kay Mr. and Mrs. David Kerr Mr. and Mrs. Michael Kuhn

Mrs. Harriet J. Landrum ‘61 Mr. and Mrs. William R. Leighton Mr. and Mrs. Barry Lewis Dr. and Mrs. Taylor D. Littleton ‘51 Mr. and Mrs. Jim Lowery Mr. and Mrs. James Nettles Martin ‘79 Mrs. Katherine Smith Martin ‘50 Mr. and Mrs. Frank D. McWilliams Mr. David Mincberg Mr. and Mrs. Bradley Nevill Ms. Jane DiFolco Parker Ms. Letitia Paul Mrs. Mary W. Peterson Mrs. Adele H. Pieper Ms. Christine G. Ramsey Mr. and Mrs. J. Hugh Roff Mr. and Mrs. Philip S. Rundle Mr. and Mrs. Kelly Rushing Mr. Tom Rushing

Ms. Mary Lou Soper Ms. Jane Peden Stewart Mr. and Mrs. Michael O. Strode Ms. Josephine B. Temple Hon. and Mrs. Clement C. Torbert Jr. ‘51 Mr. and Mrs. Tom Walker Ms. Virginia Seale Watt Mr. Richard D. Williams III ‘51 Mr. and Mrs. Sidney B. Williams Mr. and Mrs. James Noel Wilmoth Mr. and Mrs. Bryan H. Wimberly

Left is University Ace Hardware's Carolyn Fichtner, owner, with Shalisa Grantham, administrative assistant, at the Museum Homecoming Tailgate.

University Ace supported our grand prize giveaway.

BUSINESS PARTNERS In this issue of JULE we spoke with one of our new business partners: David Fichtner of University Ace Hardware.

Through their annual contributions, business partners make it possible in part for JCSM to continue our educational programming and exhibitions. These businesses also enjoy a wide array of program benefits, including prominent recognition of support in our lobby area, acknowledgement in our magazines, invitations to member receptions, JCSM mailings, memberships, discounted JCSM facility rental, and more.

This year our Business Partners Appreciation Reception will occur March 10, 2016. Please contact Cindy Cox at 334.844.3005 or cindycox@auburn.edu for more information about becoming a business partner.

MEET ONE OF OUR NEWEST JCSM BUSINESS PARTNERS: DAVID FICHTNER, UNIVERSITY ACE HARDWARE

JULE: How long has University Ace been open and what brought your business to the Auburn area?

David Fichtner: University Ace Hardware opened February 2013. Our family returned to Auburn in 2009. Carolyn and I had gone to school at Auburn in the early ’80s. After finishing up some other business obligations, we were looking to start a business that could become an integral part of the Auburn/Opelika community. We selected to open an Ace Hardware store because we believe strongly in the commitment to world-class service and products.

JULE: What kind of products do you sell?

DF: We are a full-service hardware store providing all of the items someone would need to maintain their home or business.

We have plumbing, electrical, tools, hardware, cleaning supplies, automotive, paint, and lawn and garden. We also sell other specialty items like outdoor power equipment from Husqvarna and BadBoy mowers, Yeti coolers, birding supplies, lawn furniture, and more. People are usually amazed at the number of items we can fit in a relatively small space.

JULE: How do you use an appreciation for the arts in your daily business life?

DF: In the retail business the presentation of our products is something of an art.

How you display something has an effect on how people view that product. We also like to sell products from local artists that specialize in metal work, painting, or garden art.

JULE: What types of art experiences do you typically enjoy at a museum?

DF: I really enjoy all types and forms of art, but paintings and sculptures are generally my favorite. Being completely lacking in artistic ability myself, I am amazed at the skill, vision, and patience it takes to produce a work of art.

JULE: Why did you become a business partner? At JCSM, we believe that Art Changes Lives. How has art changed your life?

Shalisa Grantham, University Ace Hardware administrative assistant, with Ina Fichtner, David and Carolyn's daughter.

CINDY COX Membership Officer cindycox@auburn.edu 334.844.3005

DF: The primary reason we became a business partner with JCSM is that we believe it is a vital part of the community.

We love Auburn and we think a thriving, active art community is vital for Auburn and JCSM is the foundation of the art community.

JULE: Why should other businesses become involved as a business partner with JCSM? DF: It’s really very simple­—if you love Auburn then you should become a business partner with JCSM.

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Ro be r t A. Schae f e r, Jr, Ele ktr o Licht Kr af t, 1976, e diti o n: 5/ 20, pr i nted in 2010, c yanotype print

GIVING DAY 24 HOURS. 20+ PROJECTS. ONE BIG FAMILY.

JCSM EXCEEDS FUNDRAISING GOAL DURING 24-HOUR “TIGER GIVING DAY” We did it! Thanks to our members and friends, JCSM raised funds toward the purchase of Electro Licht Kraft, one of the photographs featured in the 1072 Society Exhibition, in just 24 hours! Donors exceeded our initital goal by 55 percent before the 24-hour campaign ended. This project was a part of Auburn University’s Tiger Giving Day on Tuesday, Dec. 1. Following Black Friday and Cyber Monday, Tiger Giving Day was the university’s version of Giving Tuesday, a global day dedicated to giving back.

This work and others acquired through 1072 Society donations will expand the instructional value of JCSM programs.

The photograph is by Auburn alumnus Robert A. Schaefer Jr., ’75. Schaefer is a photographer and instructor at New York University and the Penumbra Foundation in New York, New York. His work is a part of collections at the Museum of Modern Art in New York City; the Bibliotheque Nationale in Paris, France; the Museum of Fine Arts in Houston, Texas; and the Library of Congress in Washington, DC, as well as many corporate and private art collections—and now, JCSM too! His résumé also includes solo and group exhibitions at institutions in the US and abroad.

Originally from Cullman, Alabama, he received his B.A. in architecture from Auburn University in 1975. Under the guidance of professor emeritus William Gwin, Schaefer took an elective course in photography, an experience that he describes as the excellent foundation to become the photographer he is today.

“When I saw my first image appear in the developing tray, I was hooked on photography,” he said. In his early work, he experimented with post visualization in the dark room, with techniques like solarization, to create a surreal effect. “Later, I decided

photography was about the art of seeing,” Schaefer said.

He received his M.A. in architecture from Technische Universität, in Munich, Germany. It was while exploring this new city that he photographed the 1920s-era window advertisement. “The Electro Licht Kraft Sign is all about using reflection to create an unusual effect,” he said.

He created the first prints of Elektro Licht Kraft using gelatin silver, or the black and white photographic process; however, when he returned to New York City in 1981, he began using a 19th-century process called cyanotype, which yields a Prussian-blue print and enhances the image in Elektro Licht Kraft.

“I think seeing an Auburn graduate in a museum is pretty amazing,” said Dakota Sumpter, a junior majoring in fine art with a concentration in photography.

Originally from Boston, Massachusetts, he is the senior photographer for The Auburn Plainsman, photo lab manager at Biggin Hall under associate professor and photographer Chuck Hemard, and an ePortfolio student ambassador.

“It’s such a small group of artists that come out of Auburn, and it is such a family, so being able to see their work, especially at an Auburn museum is a one-of-a-kind experience,” he said.

After graduation, Sumpter would like to work for a large photo agency such as the Associated Press or Contact or as a staff photographer at a large newspaper. He

also is interested in pursuing his M.F.A. in photography. “I really like the fast pace of photojournalism, but I also really enjoy the fine art side,” he said. “For me, it’s nice to figure out how to bridge that gap and be able to make an artful photograph that is communicative to people.”

Sumpter said that he felt it was important for people to donate to the museum, considering how important art is in a community like Auburn. “Seeing a work of art in a book does it no justice— when you can be face to face with it and see the texture and the fine grain,” he said.

It’s not too late to join the 1072 Society Class of 2016 and give students like Dakota a strong academic foundation with direct art encounters.

The 1072 Society Exhibition will be up until January 24, and donations for the 2016 cycle are welcome through January 31. Help your JCSM keep these beautiful photographs. Each and every work in this exhibition depicting the history of photography would make meaningful additions to the permanent collection of JCSM. Call Cindy Cox for more information on how to join the 1072 Society at 334.844.3005, or send your envelope from this edition of JULE.

ENHANCING THE VISITOR EXPERIENCE There are several new additions to the Bill L. Harbert Gallery, and we’re not talking about pieces from the fall exhibition! New seating has been added to the gallery in order to provide a comfortable, informal, and inviting space for visitors to enjoy. The two seating arrangements create social gathering areas where visitors can now enjoy face-to-face conversations with one another. For those wanting a cozy space to sit and reflect, each station also provides supplemental books and materials relating to the exhibition. Through the end of the current exhibition, Along the Eastern Road, visitors will find materials on the artist, Utagawa Hiroshige, the exhibition, Japanese culture, and even haikus. In the future, as long as the nature of an exhibition permits, the new seating will be utilized.

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MEMBER MAGAZINE

SPRING 2016

MUSEUM SHOP The Museum Shop is open during regular museum hours.

MUSEUM HOURS Monday: Closed, tours by appointment only.

Tuesday–Saturday: 10 a.m.–4:30 p.m.

Extended Hours: Thursday until 8 p.m. & Sunday 1–4 p.m.