Miami University Art Museum - Fall 2013 - visual arts @ miami

visual arts @ miami

fall

2013

35th Anniversary Edition Miami University Art Museum

35 Art Museum McGuffey Museum Hiestand Galleries Cage Gallery

Miami University College of Creative Arts visual arts @ miami | 1

On the cover: Architectural rendering ca. 1978

visual arts @ miami is a publication of the Miami

University Art Museum (MUAM), showcasing visual arts at Miami University, for members and the community.

visual arts venues @ miami, oxford Cage Gallery

Distributed in the Oxford Press prior to the Fall and Spring semesters, visual arts @ miami also serves as a unified resource for visual arts and culture within the College of Creative Arts.

McGuffey Museum

MUAM is free and open to all, Tuesday through Friday from 10 a.m. to 5 p.m. and Noon to 5 p.m. on Saturday.

Closed during holidays and University closures.

Hiestand Galleries

Inside this issue:

Directions 3 Collections News 4 Upcoming Exhibitions & Fall Film Series 5 McGuffey Moments 6 7 Stewart - A Great ‘Steward’ Art Museum Fall Exhibitions / Programs 8-9 Walter A. and Dawn Clark Netsch 10 35@35: A Museum Collects 11-14 Walter I. Farmer 15 In the Cage 17 Hiestand Happenings 18-19 Become a Docent 20 Join MUAM 21 23-24 Events & Exhibitions @ a Glance

ArtMuseum and Sculpture Park 801 S. Patterson Ave. | MiamiOH.edu/Art-Museum | (513) 529-2232

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Blue Bus Stops at the Art Museum

Art Museum

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Art Museum - 8 Hiestand Galleries - 66

Interns: Devon Barnhard Sarah Boone Justine Dailey Sloane Fuller Bailey Metzger Clairis Zhu

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Cage Gallery - 5 McGuffey Museum - 89

Art Museum Staff Robert S. Wicks, Ph.D., Director Jason E. Shaiman, Curator of Exhibitions Cynthia Collins, Curator of Education Laura Stewart, Collections Manager/Registrar Mark DeGennaro, Preparator/Operations Manager Sherri Krazl, Marketing and Communications Coordinator Debbie Caudill, Program Assistant Sue Gambrell, Program Coordinator Scott Kissell, University Photographer Steve Gordon, McGuffey Museum Administrator Laura Livingston, Assistant to the Registrar

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Student Workers: Ariel Lovins Abria Marshall Trayli Monroe Morgan Murray Sayali Sakhardande Miles Senior

Membership Steering Committee: Sarah Michael Sue Momeyer Dana Lentini Rachel Pfeiffer Nancy Arthur Elaine Rauckhorst Heather Kogge Alan Straus

directions

from the director

The University Art Museum as a “Crucible of Change”

By Dr. Robert S. Wicks

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iami University President Philip R. Shriver hosted an opening reception at the Miami University Art Museum on September 10, 1978. The formal dedication of the building took place nearly two months later, on November 5.

Those in attendance at these inaugural events were struck by the distinctive architectural features of the new building, so different from Miami’s red brick neo-Georgian style, with Indiana limestone exterior, floor-to-ceiling glass, triangular exhibition spaces and exposed beams, not to mention a breathtaking site with wooded acreage on the southeastern edge of campus.

Dr. Shriver described the new art museum as a “precious cultural resource” that would assist in “the preservation of our cultural heritage.” His words were amplified by Willard L. Boyd, then president of the University of Iowa and a member of the National Council on the Arts.

Boyd stressed that “art distinguishes us as human beings” and “affirms human values.” He acknowledged that the role of the arts in U.S. higher education was “just beginning,” with a vast potential for enhancing our lives.

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He pointed out that “...a university’s museum of art is a crucible of change,” not merely “a mausoleum of artifacts.”

Elsewhere Boyd refers to the university art museum as a “curator of change,” emphasizing its “special place within the academic community and within society in general.”

As such, the university art museum occupies a crucial role for the communities it serves, within the academy and beyond. Boyd continued, “...the university museum accents the centrality of art in all our lives and careers.”

Boyd determined that we learn lifeenhancing skills as we truly engage with and respond to art, improving our ability to “perceive relationships, to appreciate diverse forms of expression, to understand concepts.”

Boyd’s words are especially relevant today, as we look for direction in a world that has become predominantly digital. It is the art museum’s strength that original works of art can engage the viewer in a way that digital images on a screen cannot.

The art museum gives the viewer an opportunity to ask questions about art, and about what makes art good, or even great. It also provides an environment for starting discussions about difference, a stage that is a launching point for conversations about our relationships with those around us, our colleagues, our friends and those in our community.

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collections NEWS

Start spreading the news...

By Laura Stewart

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iami University Art Museum’s most well traveled painting is bound for New York City and beyond!

The Confederacy: Alabama, 1965,

by Robert Indiana, has been part of the Museum’s permanent collection since 1982, when it was generously donated by Walter A. Netsch and his wife, Dawn Clark Netsch. Walter Netsch, a renowned architect and avid art collector, not only designed the Art Museum building, he also entrusted it with several outstanding examples of modern and contemporary art from the couple’s personal collection.

Netsch purchased Alabama, a 70 x 60 Collections Manager/Registrar Laura Stewart and Preparator/ inches oil on canvas painting, from Operations Manager Mark DeGennaro reposition Alabama before the artist’s New York dealer, Stable its tour. Robert Indiana, (American, b. 1928); The Confederacy: Gallery, shortly before the work was Alabama, 1965; oil on canvas. Gift of Walter A. and Dawn Clark Netsch, 1982.185 shown at the Whitney Museum of American Art’s 1965 Annual Exhibition of Contemporary American Painting. This fall, Alabama will return to the Whitney Museum for a retrospective exhibition of Indiana’s career, entitled Robert Indiana: Beyond LOVE. This is not Alabama’s first time on tour. In fact, this particular work from the University’s permanent art collection has remained in demand from other institutions for much of the Museum’s 35-year history. First exhibited in Oxford in 1983 in Living with Art II, the painting soon crossed state lines to appear at Notre Dame University’s Snite Museum in South Bend, Indiana. Then in 1987, Alabama visited the west coast, displayed in the University of California, Berkeley show, Made in USA: An Americanization in Modern Art, the ‘50s and ‘60s, which traveled to the Nelson-Atkins Museum of Art in Kansas City, Missouri, and the Virginia Museum of Fine Arts in Richmond, Virginia. After its return to Oxford, Alabama stayed at Miami for a couple of years before heading out again in 1990 to the Milwaukee Art Museum in Wisconsin for the Word as Image exhibition.

Alabama even crossed the Pacific Ocean in 1992, when it was part of a traveling show originating at the Columbus Museum of Art in Ohio, A Nation’s Legacy: 150 Years of American Art from Ohio Collections. While it was exhibited at venues located in Tokyo, Yamaguchi, Fukushima, Takamatsu, and Osaka, Japanese audiences were able to experience firsthand the Civil Rights sentiments expressed by Indiana in The Confederacy Series.

Seven years later, Alabama traveled back to the east cost for an exhibition at the Portland Museum of Art in Maine, Robert Indiana: Reconstructing the American Dream.

In the coming year, the painting will be on view in New York City at the Whitney Museum through February, 2014, and then at the Brooklyn Museum of Art through July, 2014, for yet another traveling exhibition, Art, Activism, and Civil Rights in the 1960s. From Brooklyn, Alabama will travel to the Hood Museum of Art in Hanover, New Hampshire and then to The Blanton Museum of Art at the University of Texas, Austin before returning home to Miami University in the summer of 2015.

Upcoming MUAM Exhibitions Spring 2014 Meditations: The Abstract Nature of H.A. Sigg (Farmer Gallery) An exhibition of recent paintings, collages and sculpture created by Swiss abstract artist Hermann Alfred Sigg, who is best known for his exploration of nature, and more recently personal recollections, through rich color and gestural compositions.

Reality is Broken: Summer Reading Program Art Exhibition (Douglass Gallery) This inaugural art exhibition will feature new works created by students in Miami University’s Department of Art in response to the 2013 Summer Reading Program book, Reality is Broken: Why Games Make Us Better and How They Can Change the World,

by Jane McGonigal.

Art History Capstone Exhibition (McKie Gallery) The Senior Capstone Exhibition will examine the marginalization and commercialization of African art within the context of indigenous and mainstream art and culture. The exhibition is curated by Art and Architecture History majors at Miami University under the direction of Professor dele jegede and Curator of Exhibitions, Jason E. Shaiman.

Film Series @ the Art Museum In celebration of the Art Museum’s 35th Anniversary, films will highlight the art of collecting and artists’ works in the Art Museum’s collection.

Thursday, September 19, 7 p.m.

Beautiful Losers (2008), 90 min.

Beautiful Losers celebrates the spirit behind one of the most influential cultural movements of a generation. In the early 1990s a group of likeminded outsiders found common ground at a little NYC storefront gallery. Rooted in the subcultures of skateboarding, surf, punk, hip-hop and graffiti, they made art that reflected their lifestyles. The film focuses on the personal stories of what happens when the outside becomes “in.”

Thursday, October 17, 7 p.m.

Surviving Picasso (1996) 123 min.

Rated: R Anthony Hopkins portrays the famous painter Pablo Picasso in this compelling biographic film, directed and produced by James Ivory, Ismail Merchant and David L. Wolper.

Summer 2014 Native American Blankets from the Edna M. Kelly Collection (Farmer Gallery) For more than two decades Edna M. Kelly collected Southwest Native American textiles, baskets, pottery and jewelry. A portion of her collection, totaling nearly 800 works, is a fine sampling of blankets and woven textiles.

Recent Acquisitions: Collections Highlights (McKie Gallery) Each year the Miami University Art Museum’s permanent collection grows through gifts and bequests from university alumni and other donors who support the arts. This exhibition will highlight works of art acquired in 2013.

High School Art Exhibition (Douglass Gallery) Every summer the creative talents of senior art students from a local high school are featured.

Thursday, November 14, 7 p.m.

Herb and Dorothy: You Don’t Have To Be Rockefeller to Collect Art (2008) 90 min.

This film highlights contemporary art collectors Herbert and Dorothy Vogel and their massive collection of conceptual and minimalist art.

Directed by Megumi Sasaki, the film won the Audience Award and the Golden Starfish Documentary Feature Award at the 2008 Hamptons International Film Festival.

Art Museum visual arts @ miami | Film Series

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mcguffey moments

The Intersection of History & Visual Culture

By Steve Gordon

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ritten documents, archival records, photographs and oral histories are some of the primary sources that help us reconstruct the past. The study of tangible objects and artifacts also enables us to chart changes in human expression over time and measure the impacts of technology on daily life.

The arts enrich our lives and help give meaning to what might otherwise be dismissed as the mundane. Knowing the past, and especially the material past, tempers an exaggerated sense of self-absorption and instills respect for previous generations and cultures. Perhaps more importantly, it links us as humans and drives us to more meaningful self-expression and generational interconnection.

At the William Holmes McGuffey Museum, the collections, as well as the house itself, are tangible expressions of how visual art and history intersect. The Federal vernacular architecture of the house built in 1833 represents a physical remnant of Oxford’s and Miami’s formative years, when newly arrived families were imprinting the landscape with manifestations of their culture and personal tastes. The style, placement and ornamentation of the house were consciously intended to make a statement about popular fashion and the McGuffey family’s place in local society. Together the house, the Bishop sideboard and the McGuffey desk, to name just three of the museum’s iconic artifacts, convey a very real sense, or “virtual reality” of Miami’s past. From these three objects, we can learn about the past and how such objects foster a sense of place, feeling and meaning. As visitors experience and engage the visual arts at McGuffey Museum, they sense that the past is not really past after all. Rather, it is a very real part of their present experience, a reflection of why this place matters.

Students and the McGuffey Museum Experience

Students have long been an integral part of McGuffey Museum’s mission. Their work involves the preparation of exhibits, giving guided tours and doing presentations and research on a multitude of projects ranging from African Americans in Oxford to the history of Bonham House.

This spring, Kelsey Sturgill and Justin Schumacher, both senior art history majors, undertook projects researching local Modernist architects and a critical look at museums and culture, respectively. By utilizing the resources of University Archives and the Smith Library of Regional History, Kelsey was able to locate and identify the works of David Maxfield, a notable local architect. Justin’s research centered on studying portraiture in McGuffey Museum and also examining advanced topics in arts management.

History graduate student Erin Toothaker, relying on letters, diaries and reminiscences, developed an exhibit on Henrietta McGuffey Hepburn that served as the core work of her Master’s thesis in American History. While on display in Special Collections in King Library, the exhibit lured McGuffey’s great-greatgranddaughter and her family to Oxford and McGuffey Museum. History, archives and visual culture helped bring Henrietta McGuffey to life.

Visiting McGuffey The museum is open Thursday, Friday and Saturday, 1-5 p.m. Visits are possible by appointment by e-mailing McGuffeyMuseum@MiamiOH.edu or calling (513) 529-8380.

During open hours, no reservations are required. Please call ahead for large groups of 12 people or more. The visit is a casual experience catering to each person’s interests and available time, with lots of opportunity for questions.

The museum is staffed by student aides, interns and a graduate student, with support from over 25 active McGuffey volunteers. Students and volunteers undergo extensive training in preparation for giving tours.

Senior art history student Justin Schumacher.

Art Museum Staff Spotlight

Stewart – a Great ‘Steward’ New to the Miami University Art Museum (MUAM) team in February, Collections Manager/Registrar Laura Stewart was drawn to Miami by the beautiful campus, outstanding academic reputation and the museum itself. “It is such a great resource with exceptional collections,” she commented.

Originally from Lexington, Kentucky, Laura and her husband Chad now reside in the Oakley neighborhod of Cincinnati. When away from MUAM and visual art Laura enjoys flower gardening, teaching and fitness dance.

Her lifelong exposure to the arts includes memories of her father acting in community theatre and an impactful visit with her mom to the Art Institute of Chicago. “We went to see a Degas exhibition, it was such a memorable experience, one that made me hope I might work in an art museum someday.” And someday she did. She started down the path when in college she took an art history survey course, “Renaissance through Modern Art,” to fulfill a humanities requirement. “I found that I was entranced by the opportunity to see and discuss fantastic images created in other, seemingly more exotic, times and places,” she shared.

She earned her Bachelor of Art History degree from the University of Kentucky and her Master of Art History degree at the University of Cincinnati.

During her career she has worked at Georgetown College Art Galleries, Arizona State University Art Museum and the Alice F. and Harris K. Weston Art Gallery. She has met Dennis Oppenheim and also

worked with Xu Bing, both memorable artists she found to be down-to-earth, real human beings and not just famous names in books.

One of her many enjoyable projects was working on the inaugural show for the Cincinnati Contemporary Arts Center, Somewhere Better Than This Place, which consisted of three floors full of cutting edge contemporary art. She enjoyed writing catalog essays, working on the first audio guide and many other aspects of the show which were particularly exciting as it was a brand new building.

Though it is easy to tell when chatting with Stewart how excited she is about the quality and variety of our collection and her role in preserving it, she does have some favorites. “The print collection is one of my favorites. I love the variety of images and artists represented.”

Stewart feels the best kept secret at MUAM is the Art History @ a Glance exhibition in Gallery 4. “It is a really neat component to help gain an understanding of the history of art and also to understand the breadth of the collection, because it really highlights some big name artists in that little space. It has some wow factors like a Bouguereau, a Hofmann and a Catlett.”

In her role at MUAM, she most enjoys the opportunities to interact with great works of art and collectors. “I enjoy understanding their motivations and learning about their passion. I also look forward to working with colleagues and conservators to continue to be a good steward of the collection.”

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ART museum FALL CAPSTONE exhibition ~ August 20 – december 14

Distributing Knowledge: The printed Image, 1500 to 1800 P

rintmaking facilitated the spread of knowledge and ideas in the early modern period (15th-18th centuries). The medium was fundamental for such an expansion, as the process used by artists allowed them to mass produce images and distribute them inexpensively to a growing audience. Printmaking, in addition to aiding the spread of knowledge, also is a marker of the expansion itself. A desire for new ideas and information can be seen in the innovative artistic printmaking techniques that were developed and shared throughout western Europe.

With the advent of the Gutenberg movable-type printing press the demand for printed images helped drive the early market. This market expanded to suit an array of consumer needs for

religious, artistic and cultural images. Some prints commemorated special occasions, while others recorded specific places. They allowed viewers to experience events they otherwise might not have attended and may have even inspired viewers to travel to the places depicted. Other prints revealed a cultural awareness for the Classics, or consumer interests in the works of specific artists.

Printmakers could spread their own ideas regarding artistic techniques and their own interpretations of religious events. In summary, the artists who produced prints responded to a demand for knowledge by the people, either creating what the audience wanted or giving the collectors something they had never seen before.

Programs Tuesday, October 15, 5:30 p.m.

Distributing Knowledge: The Printed Image, 1500 to 1800 Andrew Casper, Ph.D., Assistant Professor, Department of Art; Jason E. Shaiman, Curator of Exhibitions, and Kelsey Sturgill, Art History major This panel discussion will provide a platform for dialogue regarding the development of the 2013 Art History Capstone exhibition, Distributing Knowledge: The Printed Image, 1500 to 1800. Kelsey Sturgill, one of twelve Art & Architecture History majors in the capstone course, will talk about her role as a student curator.

Dr. Andrew Casper will speak about his role as professor of the course, while Jason E. Shaiman, the Art Museum’s Curator of Exhibitions, will discuss his role as coordinator and curatorial guide for the project.

Heinrich Aldegrever (German, 1502-1558/61); Hercules and Achelous, from The Labors of Hercules, 1550; engraving on paper; Gift of Itto F. Langmann; 1982.39 Exhibition graphics by design student Morgan Murray.

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Wednesday, November 6, 5:30 p.m.

Print Revolution: The Koberger Bible in Historical Context Wietse de Boer, Ph.D., Professor, Department of History, and Ellen Price, Professor, Department of Art

This lecture will focus on the Koberger Bible and the rapid cultural changes that transformed late 15th-century Germany. Other topics will include the information revolution brought on by the printing press, the proliferation of printed images in woodcut and engraving, the world of urban artisans and intellectuals and the devotional movements active in many towns.

ART museum FALL exhibition ~ August 20 – december 14

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ver the past 30,000 years art has evolved from expressive two-dimensional drawings of animals on cave walls to digital and computer-generated interactives.

During this time the art world has experienced cyclical reinterpretations of earlier objectives and motifs, as well as radical explorations of new media and methods of presentation, in order to escape from the perceived limits or constraints of the preceding period. In the 20th century, liberation from tradition was realized through abstraction, or the nonrepresentational depiction of images that impact what the eye sees and what the mind interprets.

Many assumptions about art are challenged in the exploration of abstraction. When viewing nonrepresentational works on display, consider two particular inquiries: “What constitutes abstraction in a work of art?” and “What purpose does a title serve if a work of art is nonrepresentational?”

Since the turn of the 20th century, artists have experimented more than ever before with the materials, the imagery and the methods used to create a work of art. No longer do marble, bronze, oil on canvas, etching, drawing and photography serve as universal materials for artistic production. Further questioning what the viewer sees in a work of art is the subjective nature of a name or title. By simply designating a work as Untitled, the artist opens the door for an individual experience, inviting the viewer to interpret the intent of the artist as well as how the work can or should be appreciated.

Aaron Siskind (American, 19031991); Jalapa 35, Homage to Franz Kline, 1973; black and white photograph; Miami University Art Museum Purchase and Gift of Cal Kowal; 1991.368

Ilya Bolotowsky (American, b.

Russia, 1907-1981); Untitled, 1969; serigraph on paper, Plate IV from a folio of VIII, number 62 of an edition of 125; Gift to Miami University; 1950.PR.0.27

Program

Wednesday, October 9, 5:30 p.m.

Abstract Matters Elizabeth Ferrell, Ph.D., Associate Professor, Department of Art This talk looks closely at select works from Pure Abstraction to explore the various, and often contradictory, roles that materials play in abstract works. Art history tells us that abstraction freed artists to express the physical properties of their media. We will question this art-historical orthodoxy and reconsider the role of materiality in the practice of abstraction. When, and why, does an explicit concern with materiality challenge an artist’s desire to create an imaginary world? And when does it bolster that desire?

Paul Chidlaw (American, 19001989); Spring Comes to the World, 1982; acrylic on canvas; Gift of the Artist; 1985.83 Exhibition graphics by design student Sloane Fuller.

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A Lasting Vision...

Walter A. and Dawn Clark Netsch

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alter A. Netsch (1920-2008) will be remembered for his Field Theory of architectural design, and for him, the Miami University Art Museum was one of his most successful buildings utilizing that principle. In a 2007 interview he was asked if any of his buildings “deserved more attention or recognition than it actually received.” Netsch’s response was immediate. “The Miami University Art Museum,” he declared. “It’s not well known, but the building is beautiful and important to me.”

In addition to being a noted architect with the firm Skidmore, Owings and Merrill in Chicago, Walter and his wife Dawn Clark Netsch (1926-2013) actively collected 20th century art since mid-century. Dawn was a native of Cincinnati, an Illinois professor of law and a politician, and was the first female to be nominated to run for governor by a major political party.

Their numerous gifts to the art museum include several gems of the collection. Three works stand out as examples of their infallible taste and foresight as collectors, as well as their incredible generosity as donors.

Each represents a distinct moment in the history of 20th century American art.

For many art museum docents and visitors, Hans Hofmann’s dramatic and colorful work of 1958, Blue Spell, remains an all-time favorite. Currently on display in the ongoing installation Art History @ a Glance, it stands as a signature work of the Abstract Expressionist movement by one of its most illustrious proponents. The accession number, 1979.P.7.7, reveals that Blue Spell was among the first works to be donated to the art museum following its opening in 1978.

Pop artist Robert Indiana, who created the iconic LOVE emblem in 1964, is the artist responsible for the art museum’s most traveled and published painting, The Confederacy: Alabama, 1965. (See article on page 4.) Donated by the Netsches in 1982, Alabama belongs to a group of four paintings known as The Confederacy Series protesting human rights abuses in the United States.

They were completed simultaneously with the passage of the Civil Rights Act of 1964 and the Voting Rights Act of 1965. Each work shares a common circular mantra: “Just as in the anatomy of man, every nation must have its hind part.”

A state map highlights the geography of unrest in the American south.

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The Netsches were also largely responsible for a 1979-81 sculpture park installation that has the distinction of possessing the longest credit line of any work in the collection. Nancy Holt, one of this year’s recipients of the International Sculpture Center’s Lifetime Achievement in Contemporary Sculpture Award, is a prominent member of the Land Art movement, which took art out of the museum gallery and into the natural landscape. Her sitespecific sculpture Star-Crossed, exemplifies the intersection of collaboration and concept. The true or astronomical north crosses the magnetic north at the longitude in Oxford, and the earth-covered sculpture is positioned to view the North Star through the angled tunnel.

The Netsch legacy at Miami will continue to be appreciated by future generations of students, scholars and educators.

Above: Walter A. Netsch (Credit: The American Institute of Architects),

Dawn Clark Netsch (Credit: AP Photo/Chicago Sun-Times. Brian Jackson).

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MIAMI UNIVERSITY ART MUSEUM

Celebrating

years

visual arts @ miami | 11 special exhibition insert

Art Museum Directors Harold I. Truax, Special Assistant to the President for the Art Museum, 1978-79 David Berreth, 1979-1988 Bonnie Kelm, 1988-1996 James F. Robeson (Interim), 1996-1997 Bonnie Mason (Interim), 1998 Robert Kret, 1998-2000 Robert S. Wicks (Interim), 2000-2003 Robert S. Wicks, 2003-present

Legacy Honor Roll Major Donors to the Construction of the Art Museum Zettie Bonnelle Rosalie and Hubert Douglass Phyllis B. Goodyear Stanley and Agnes McKie Harry and Lucy Williams Fred C. Yager

1978 Art Museum Advisory Board Lloyd Goggin, Vice President for Finance and Business Affairs John Dolibois, Vice President for Alumni and Development Charles L. Spohn, Dean of the School of Fine Arts Robert Butler, Chairman of the Art Department Walter I. Farmer Patricia Wolf Jane Durrell Donald Fritz Gilbert Gordon Charles Carpenter Walter A. Netsch

@ : 3 3 5 5 A Museum Collects T

he Miami University Art Museum was founded in 1978, largely due to the inspiration of Orpha Webster (1893-1976), an art professor at Miami from 1927 until her retirement in 1961. Miss Webster, as she was called by her students, recognized the importance of direct experience with art objects and was instrumental in bringing the Elma Pratt (18881977) International Folk Art Collection to Miami, beginning in 1970.

One of Webster’s favorite students was Walter I. Farmer (1911-1997), a 1935 graduate of the Department of Architecture. Farmer was a broadranging collector and offered his extensive art collection, including Roman and Greek antiquities and Pre-Columbian ceramics, to Miami University with the condition that it provided an art museum in which to display them. John E. Dolibois, Miami’s Vice President for Development and Alumni Affairs, was given the responsibility of soliciting funding for the construction of an art museum. He found the ideal donor in Fred C. Yager (1891-1974), who also supported Miami’s new football stadium. Farmer’s collections became the art museum’s foundational gift and set a precedent for other donors to contribute their cherished treasures to Miami.

Walter A. Netsch (1920-2008), of Skidmore, Owings and Merrill, Chicago was selected as the architect for the new museum. Based on his signature Field Theory, the structure is a series of triangles filled with glass and light. Like Farmer, Netsch was an avid art collector. Over time he and his wife, Dawn Clark Netsch, donated significant paintings, sculptures and works on paper for the permanent collections, including iconic paintings by abstract expressionist Hans Hofmann (1880-1966) and pop artist Robert Indiana.

Other significant collections at the Miami University Art Museum include the Charles M. Messer (1908-1980) Leica Camera Collection (a selection of which is currently on display), perhaps the largest privately assembled collection of Leica cameras and accessories in the world; the Edna M. Kelly Collection of ceramics, textiles, baskets and jewelry of the American Southwest; and the Ralph and Barbara Bresler Collection of the arts of Africa.

It is impossible to name the many individuals, businesses and foundations that have contributed to the success of the Miami University Art Museum over the 35 years of its existence – artists, directors, curators, educators, registrars, preparators, conservators, museum staff, donors, docents, faculty and students, volunteers and interns. Without their selfless generosity of time, expertise, funding and gifts-in-kind, the Art Museum would not be what it is today, a vibrant space for the study of original works of art from all periods and places around the globe. We are also fortunate to have the continued support of Miami University, both at the administrative level and through the College of Creative Arts. We would like to thank them all for their generous contributions throughout the years.

Selected Milestones • Groundbreaking, December 4, 1976 • Opening Reception, September 10, 1978 • Formal Dedication by the University, November 5, 1978 • Accreditation by the American Association of Museums (1984)

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Exhibitions and Acquisitions

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Above: Orpha Webster with her textile collection.

Below: Walter I. Farmer ‘35, John E. Dolibois ‘42 and Walter A. Netsch at the Art Museum ribbon cutting November 5, 1978.

Walter I. Farmer Collection (1969 and later) Elma Pratt International Folk Art Collection (1970 and later) Charles M. Messer Leica Camera Collection (1970 and 1978) Gandharan sculpture (1973), first acquisition by the Miami University Art Purchase Fund Paul Cadmus: Yesterday and Today (1981) Louise Nevelson, Rain Garden Zag IX (1980), Gift of Western College Alumnae Association Fletcher Benton, Folded Circle, Two Squares (1980), Gift of Class of 1955 George Bottini: Painter of Montmartre (1984) Faith Ringgold: A 25 Year Survey (1990) Mark di Suvero, For Kepler (1995) Gift of Thomas W. Smith Ars Longa, Vita Brevis: Ancient Art from the Walter I. Farmer Collection (1996) Voices in Clay: Pueblo Pottery from the Edna M. Kelly American Indian Art Collection (2001) Rembrandt Harmensz Van Rijn, Head of Saskia and Others (1636) and Faust (ca. 1652) (2004) Art Museum Purchase Julian Stanczak: Constellation Series Paintings (2005) Edna M. Kelly American Indian Art Collection (2006)

myaamiaki iši meehtohseeniwiciki/ How the Miami People Live (2008) Ralph and Barbara Bresler Collection of African Art (ongoing) James H. and Frances R. Allen 13 Collection (ongoing)

visual arts @ miami |

ART museum SPECIAL exhibition ~ August 20 – december 14

Programs Tuesday, September 24, 5:30 p.m.

Local Woman Finds French Artist in Dark Hallway: The Discovery of George Bottini’s Art and Why that Matters to the Miami University Art Museum Edna Southard, Ph.D., Curator of Collections and Exhibitions Emerita This talk will examine artist George Bottini (1874-1907) and his relevance to the Miami University Art Museum’s collection, then and now; how three important prints by the artist were acquired, and how MUAM, then only five years old, was accredited for the first time by the American Association of Museums, now the American Alliance of Museums.

Tuesday, October 29, 5:30 p.m.

Collectors and Collecting: 35 Years of the Miami University Art Museum Robert S. Wicks, Ph.D., Director, Art Museum

This presentation examines how a passion for collecting has impacted the Miami University Art Museum. Dr. Wicks will introduce some of the major donors and significant holdings that make up the Art Museum’s rich and varied collections, now consisting of more than 16,000 works of art.

Tuesday, November 19, 5:30 p.m.

To Have and To Hold: Cherishing Our Collection Jason E. Shaiman, Curator of Exhibitions

This informal gallery talk with the Curator of Exhibitions will highlight works on view in the exhibition, 35@35: A Museum Collects. Works in this gallery represent the breadth and depth of the Art Museum’s encyclopedic collection.

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Celebrating

years

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Founding Gifts The Legacy of Walter I. Farmer

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alter I. Farmer (1911-1997) was a collector, first of family heirlooms, and later of diverse artwork from around the world.

He understood the importance of studying original works of art first hand and was a compulsive museum-goer throughout his life. “I never seem to get enough of museums,” he once declared.

A native of Alliance, Ohio, Farmer earned Bachelor of Arts degrees in Architecture and Mathematics at Miami University in 1935. Following graduation he worked as an interior designer at Closson’s in Cincinnati until enlisting in the Army in 1942, serving with the Medical Corps and the Army Corps of Engineers. In 1945 he joined the Monuments, Fine Arts, and Archives (MFAA) section of the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas, where he served as Director of the Weisbaden Central Collecting Point until returning to the United States in 1946.

The Weisbaden Central Collecting Point was one of four such centers established at the end of World War II to process and repatriate works of art confiscated by the Nazis. Farmer is best remembered for signing the Weisbaden Manifesto of November 7, 1945, in which MFAA officers opposed the United States’ request for 202 German-owned works of art

by Botticelli, Rembrandt, Tiepolo, and others to be shipped to the National Gallery in Washington, D.C. for “protective custody” and exhibition. These were finally returned to Germany in 1948. In 1996 Farmer was awarded the Commander’s Cross of the Order of Merit of the Federal Republic of Germany for his post-war efforts to preserve Germany’s cultural heritage.

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Following his return to Cincinnati, Farmer worked as an interior designer, at the same time systematically building his personal collection of world art. He had a special interest in European and Roman historic glass, Classical and Islamic ceramics, ancient bronzes and Pre-Columbian antiquities.

Walter I. Farmer and ‘his’ Nefertiti.

Source: www.monumentsmenfoundation.org

In 1966 Farmer’s former art teacher at Miami University, Orpha Webster, began discussions with him about the possibility of donating his remarkable collection to Miami. Walter was enthusiastic about the prospect and stated, “If my collection were to come to Miami I would like to see it in a museum.” He went so far as to suggest that Miami construct “a modern building, by a distinguished contemporary architect” to house and exhibit his collection, which could then serve “as a resource for art and teaching” for faculty, students and researchers.

With the encouragement of Miami’s President Philip R. Shriver and the untiring efforts of John E. Dolibois, Miami’s Vice President for Development, private funding was secured to guarantee that Miami would have just such a structure. The single major gift came from Fred C. Yager, Class of 1914.

Walter I. Farmer’s collection of several thousand objects was gifted to Miami over a number of years. His remarkable vision and generosity has made the Miami University Art Museum what it is today, a teaching museum with broad resources capable of providing visual culture resources for nearly every period and geographical area of the world.

Additional resources: [1] Walter I. Farmer, The Safekeepers: A Memoir of the Arts at the End of World War II (Berlin & New York: de Gruyter, 2000) [2] National Gallery of Art, Washington, D.C. World War II files of Monuments, Fine Arts, and Archives officers Edward Adams, S. Lane Faison Jr., Walter I. Farmer, Frederick Hartt, E. Parker Lesley Jr., Charles Parkhurst, Craig Hugh Smyth, Edith A. Standen, and James J. Rorimer.

visual arts @ miami | 15

Family Weekend Entertainment!

NOW! ON SALE NOW! ON SALE NOW! ON SALE NOW! ON SALE NOW! ON SALE NOW! ON SALE NOW! ON SALE NOW! ON SALE NOW! ON SALE NOW! JIM ON SALE NOW! ON SALE NOW! ON SALE 8:30 p.m.

Oct. 5 NOW! NOW! Saturday, ON SALE Millett Hall ON SALE NOW! ON SALE NOW! ON SALE MORE SHOWS...

GAFFIGAN

MiamiOH.edu/PerformingArtsSeries

ART EXPLORERs A free program including story-time led by the Lane Public Library children’s department and a related craft. For children ages 3–5, accompanied by an adult.

When: September 26 October 24 November 21

Location: Miami University Art Museum

Time: 10 a.m.-noon Cost: Free and open to the public

Voice of America Learning Center Exhibition COMING ATTRACTIONS: POSTERS AS ANNOUNCEMENTS AND HISTORY

O

Works by Miami Alumni John Maggard and Sam Ashworth September 8 – November 6

pening September 8, the exhibition COMING ATTRACTIONS at the Miami University Voice of America Learning Center in West Chester will feature the poster works of two Miami alumni, John Maggard (‘76) and Sam Ashworth (‘64). The exhibition opens with a free public reception from 2 to 5 p.m., and will be available for public viewing through November 6.

The exhibition focuses on posters as announcements of coming events and as historical records of the times and events of our local communities. Over the years Ashworth produced posters for many cultural organizations in the Middletown and surrounding area, and Maggard’s work includes more than two decades of designing posters for the annual Heart Mini-Marathon in Cincinnati.

Since the late 1800s, color posters have been a part of everyday life, raised to an art form by artists like Toulouse-Lautrec and his contemporaries. Posters and their images have become part of national memories, such as the “Rosie the Riveter” poster of the World War II era, or the iconic 1969 poster for Woodstock.

With the rise of the internet and social media, printed posters for announcing upcoming events and building audiences are gradually being supplanted for spreading the word about coming events. However, their importance as the historical record of the life of a community and its cultural, political, sports, and other public events and occasions, continues.

VOICE OF AMERICA LEARNING CENTER 7847 VOA Park Dr., West Chester, OH 45069 (513) 895-8862 www.regionals.muohio.edu/voalc/

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Cage Gallery

Showcasing Architecture + Interior Design COLLEGE of Creative Arts, Miami University IN the cage

Compositions November 11-22

T

he Film and Architecture Studio in conjunction with Seminar Film+MixedMedia presents Compositions, an installation in the Cage Gallery, Alumni Hall.

Compositions is based on original studio projects and films conducted during the Fall semester. Students draw inspiration from independent and experimental films, and from international film classics inclusive of Hollywood productions that are viewed, researched, and discussed during the semester. As of this publication date, the precise process

Focus on Film & Architecture

of the installation is unknown, as the installation is part of the studio process and will unfold during the two-week gallery event.

About the Film and Architecture Studio: As consumers and communicators of visual narratives, conducting film (cinema and digital video) research and filmmaking as an integral part of the architectural design process supports the designer’s ability to develop and present architecture’s narrative content. The design studio considers how film narrative is structured,

multiple events through time are juxtaposed, and point of view is expressed.

Film is not used as an illustrationin-motion of design projects but as the core intention of design process. In the studio, while film research, analysis, and practice are key components establishing design tactics, the foremost goal is to simply ask for whom is a story told, and why and how is that story communicated?

This main question allows for discerning perceptions and engenders depth of reflection for all participants.

Cage Gallery

John Weigand, Chair, Department of Architecture + Interior Design 101 Alumni Hall, Oxford (513) 529-7210 arcid@MiamiOH.edu

This Fall in the Cage - Exhibitions August 2 – 30­: Grad Summer Sketches September 30 – October 11: London Summer Studio October 14-25: Chicago Art Institute November 11 – 22: Film + Architecture Studio

www.arts.MiamiOH.edu/ architecture-interior-design Gallery hours: Monday-Friday, 9 a.m.-5 p.m.

visual arts @ miami | 17

Hiestand Galleries Showcasing student and visiting artist works College of Creative Arts, Miami University

North Gallery September 3 – October 10

2013 Miami University Young Sculptors Competition for the $10,000 William and Dorothy Yeck Award

Juror: John Hatfield, Executive Director, Socrates Sculpture Park, Long Island City, New York Thursday, September 12 Juror Lecture: 6 p.m., (ART 100) Friday, September 13 Reception: 5:15-6:30 p.m., (Hiestand Galleries), Award Ceremony: 5:45 p.m.

This national biennial competition for artists 25-35 celebrates the current trends in contemporary sculpture. The winner of the competition receives the $10,000 William and Dorothy Yeck Award. The 2013 finalists, chosen

by John Hatfield, currently Executive Director of Socrates Sculpture Park and formerly the Deputy Director of the New Museum, New York, are: Sarah Beth Goncarova, Woodbridge, Connecticut; Slate J. Grove, Normal, Illinois; Hyeon Jung Kim, Bolingbrook, Illinois; Sarah Knouse, Brooklyn, New York; Joanna Manousis, Columbus, Ohio; Olivia Moore, Austin, Texas; Phillip Scarpone, Wilmington, Delaware; Austin Sheppard, Davidson, North Carolina; Maxwell Stolkin, Champaign, Illinois; Chris Thorson, Oakland, California.

October 16 – November 7

Brad Vetter ~ Making It: Posters, Prints and Process Thursday, October 24 Reception: 4:30-5:30 p.m., (Hiestand Galleries) Lecture: 6 p.m., (ART 100) Walking a line between graphic designer, fine artist and documentarian, Brad Vetter’s work is an exploration into making; why we do it, and how others perceive the things we see as important. His focus is not only on the artwork itself, but the ephemera related to the process of conceptualizing and creating the work. [www.bradvetterdesign.com].

November 14 – 26

BFA Capstone Exhibition

Reception: Tuesday, November 19, 4:30-6 p.m., (Hiestand Galleries) Department of Art senior studio majors participating in the semesterlong Capstone course feature their latest visual investigations.

December 12 – February 13, 2014

2014 Miami University Young Painters Competition for the $10,000 William and Dorothy Yeck Award

Juror: Timothy McDowell, artist and curator, Connecticut College. [www. timothymcdowellartist.com]

Friday, January 31, 2014 Juror Lecture: 4 p.m., (ART 100) Reception: 5:15-6:15 p.m., (Hiestand Galleries) Award Ceremony: 5:45 p.m.

Through the generous gift from William (‘36) and Dorothy Yeck of Dayton, Ohio, Miami University has a unique opportunity to provide students and the community at large to develop a critical understanding of painting in the 21st century. The competition winner will be awarded the $10,000 William and Dorothy Yeck Award and the painting will become part of Miami University’s permanent collection.

This year’s competition focuses on non-representational works.

hiestand happenings

Robert E. & Martha Hull Lee Gallery September 1 – October 4

Stacey Lee Webber ~ The Midnight Shift

Hiestand Galleries Ann Taulbee, Director taulbeae@miamioh.edu (513) 529-1883

Gallery hours: Monday-Friday 9 a.m.-4:30 p.m., other hours available by appointment.

Galleries closed: During exhibition installation and September 2, October 11, November 27-29, December 18-31 and January 1-3, 2014.

All receptions are at the Hiestand Galleries, in the lobby of Hiestand Hall.

For full details visit: http://miamioh.edu/sca/academics/ departments/art/facilities/hiestandgalleries/ Credits: Far left – Joanna Manousis, Reaching An Ulterior Reality, 2011-12.

Center – Brad Vetter, The Maverick.

Above right header – Prashant Miranda, Return to Nothingness (detail), 2010. Above – Stacey Lee Webber, Portraits of Post Industrial Americans: Bouquet (detail), 2013.

Thursday, September 26 Reception: 4:30-5:30 p.m., Lecture: 6 p.m., (ART 100) In The Midnight Shift, a collection of sculptural works, Stacey Lee Webber investigates a variety of mediums, pushing their intrinsic limitations to the point of disaster, with enthralling results. Webber works with found materials whose history is physically evident; imagine a copper penny lying on a sewer grate. On that stamped coin there are dents, scratches, a dull patina, and a worn-down Abraham Lincoln. Each of these inconsistencies is evidence that it has been passed through the hands of countless people.

When that penny is picked up and used in a sculpture, the new object is layered with rich narratives of struggle and triumph, resulting in a group of works that tells stories of American life. [www.staceyleewebberstore.com]

October 16 – November 12

Prashant Miranda ~ Sublime Extravaganza

Thursday, October 17 Reception: 4:30-5:30 p.m., (Hiestand Galleries) Lecture: 6 p.m., (ART 100) Prashant Miranda has been chronicling his life and travels through his watercolor journals for the last two decades. His work expresses the need to document what he sees in front of him and the madness that comes out of his head. Miranda will be on campus the week of October 14th as the guest of the Department of Art and the Department of Music, culminating with his live drawing performance during the October 19 Global Rhythms concert. [www.prashart.blogspot.com]

December 12, 2013 – February 7, 2014

Rob Anderson ~ A Place In Time

Thursday, January 30, 2014 Lecture, 6 p.m., (ART 100) Rob Anderson, the 2013 winner of the William and Dorothy Yeck Young Painters Competition shares his latest studio works in A Place In Time.

Anderson’s works investigate the interaction of the isolated figure with its environment. By the evident manner of pushing the paint across the surface, then scraping away to reveal the under layers of paint, Anderson creates narratives that are truly revealed by the use of paint and exaggerated geometric composition rather than the use of sensational imagery. Rob Anderson received his BFA from Xavier University and his MFA from the University of Cincinnati. [www.robandersonpainting.com/home.html]

visual arts @ miami | 19 visual arts @ miami | 19

VOLUNTEER SPOTLIGHT

Back row, left-right: Wendy Richardson, Jan Southern, Marjorie Bowers, Lee Hamill, Marilyn Sherman, Ellen Phelps, Elaine Rauckhorst and Sarah Michael.

Front row, left-right: Linda WIlliams, Gail Williamson, Sue Jones, Ann Dunlevy, Barbara Serraino and Carol Kane. Not pictured: Pris Berry, Dawni Gladish, Sue Momeyer, Joann Olson, Dixie Utter and Maria Vazquez.

About the Art Museum Docent Program: Meeting weekly when school is in session, the Docent Program is coordinated by the Curator of Education, Cynthia Collins. Docents lead tours, provide classroom based instruction demonstrating artistic methods and more. Any individual interested in becoming a volunteer or docent should contact Cynthia at collinc5@MiamiOH.edu or (513) 529-2243.

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arts @ miami

to learn & to teach Volunteer as a Miami University Art Museum Docent Would you like to get involved and learn about the more than 16,000 objects in the permanent collection of the Miami University Art Museum? Perhaps you should consider becoming a volunteer. Docent volunteers at the Art Museum come from diverse backgrounds and have a wide range of experiences, but most of all volunteers love art, have an interest in life-long learning and exude enthusiasm!

About the Docents Docents are members of the Art Museum and provide support for the education department. Docents lead interactive tours of gallery exhibitions for school and community groups and teens. Docents also participate and sponsor class offerings for The Institute for Learning in Retirement.

No experience or previous training is required, but all docents must have an active commitment to explore art and promote its ability to illuminate our daily lives. Docents prepare by participating in weekly seminars offered on Monday mornings throughout the semester.

If you have an interest in becoming a docent, please contact Cynthia Collins, Curator of Education, at collinc5@miamioh.edu or call (513) 529-2243 for additional information.

Docents

Museum membership moment

Membership has never been more rewarding Membership

Join today or renew at our new reciprocal level membership to gain free admission to more than 600 North American Museums.

Visit www.MiamiOH.edu/ArtMuseum for more details and to print a membership form.

You also may join or request information by visiting the Art Museum at 801 S. Patterson Ave. or calling (513) 529-1887.

Art Museum memberships support programs, exhibitions and member activities.

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$2,500

Exhibitor

$1,000

Director’s Circle

$500

$100/$120

Distinguished

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Reciprocal

• Exhibition previews (member openings) • Member meetings and receptions • Member magazine and annual report • Discounted merchandise • Discounted facility use • Member insider e-mails • Recognition of membership Reciprocal admissions and discounts to more than 600 museums in North America Access to Miami alumni travel/tour programs Discounts to select business partners Pair of courtesy tickets to a select Performing Arts Series event and reception Guest passes to VIP previews 10% discount on gift memberships Coffee with the Curator event invitation Invitation to local excursions with Director or Curator (up to 2/year) Invitation to donor appreciation event Invitation to behind the scenes tour Exhibition catalog (when produced) Sponsorship of museum program event/lecture/ movie with acknowledgment Co-sponsorship of an exhibition with acknowledgment Invitation to private events tied to exhibition/programs One day auditorium rental fee waived One free reciprocal individual or family membership to gift

$40/$70

The Art Museum’s operational budget depends upon annual membership dues, contributions and endowment income to support exhibitions, programs, conservation and publicity.

Individual/Family

Membership levels

Miami Individual/ Family* $35/$60

Benefits

*Miami Individual/Family (Miami Alumni, Faculty, and Staff) All Miami Students are Art Museum Student Members and are encouraged to participate in student opening events, and may receive student e-newsletters and merchandise discounts.

Reciprocal members gain free or discounted access to over 600 museums in North America! visual arts @ miami | 21

Artist/Intern Encounters Artist Jean Lodge (‘63) with Curator of Exhibitions, Jason E. Shaiman and Curitorial Intern Kristie Fernberg-Ryel (‘13)

Curatorial Intern, Kristie Fernberg-Ryel (‘13) worked on the Summer Exhibition - Jean Lodge: Prints, Paintings and Drawings. Kristie met with artist and Miami Alumna Jean Lodge during the opening reception.

Kristie Fernberg-Ryel (‘13), graduate in Classics and Art and Architecture History from Ashtabula, Ohio.

Most enjoyed: Working with the professional museum staff and working for the first time with actual artwork. It was a privilege to meet the artist and gratifying to curate an enjoyable exhibit that displayed the early work of an artist who has done so much work over her lifetime.

Favorite piece in Exhibition: Je m’en souviens by Jean Lodge.

What is next: I will be attending Indiana University in the fall to work on my master’s degree in art history.

ArtMuseum and Sculpture Park 801 S. Patterson Ave. | MiamiOH.edu/Art-Museum | (513) 529-2232

Connect with us on Facebook and Twitter. f: facebook.com/ MiamiUniversityArtMuseum t: twitter.com/ MiamiUArtMuseum

Back row, left-right: Jason Shaiman, Mark DeGennaro, Sherri Krazl and Laura Stewart.

Front row, left-right: Debbie Caudill, Bob Wicks and Cynthia Collins. Not pictured: Sue Gambrell.

Thank you for your support!

events @ a glance

visual arts @ miami

September September 8 – Opening Reception: COMING ATTRACTIONS exhibition. (Voice of America) 2-5 p.m.

September 12 – Juror Lecture: 2013 Miami University Young Sculptors Competition for the $10,000 William and Dorothy Yeck Award. (ART 100) 6 p.m.

September 13 – Reception / Awards Ceremony: 2013 Miami University Young Sculptors Competition for the $10,000 William and Dorothy Yeck Award. (Hiestand Galleries) Reception: 5:156:30 p.m.; Award Ceremony: 5:45 p.m.

September 19 – Fall Film Series: Beautiful Losers (2008).

(Art Museum) 7 p.m.

September 24 – Lecture: Local Woman Finds French Artist in Dark Hallway: The Discovery of George Bottini’s Art and Why that Matters to the Miami University Art Museum; Dr. Edna Southard, Curator of Collections and Exhibitions Emerita. (Art Museum) 5:30 p.m.

September 26 – Art Explorers. (Art Museum) 10 a.m.-Noon

September 26 – Reception / Lecture: Stacey Lee Webber ~ The Midnight Shift. (Hiestand Galleries) Reception: 4:30-5:30 p.m.; Lecture: (ART 100) 6 p.m.

October

October 9 – Lecture: Abstract Matters. Dr. Elizabeth Ferrell, Department of Art. (Art Museum) 5:30 p.m.

October 15 – Lecture: Distributing Knowledge: The Printed Image, 1500 to 1800. Dr. Andrew Casper, Department of Art; Jason E. Shaiman, Curator of Exhibitions, and Kelsey Sturgill, Art History Major. (Art Museum) 5:30 p.m.

October 17 – Fall Film Series: Surviving Picasso (1996). (Art Museum) 7 p.m.

October 17 – Reception / Lecture: Prashant Miranda ~ Sublime Extravaganza. (Hiestand Galleries) Reception: 4:30-5:30 p.m.; Lecture: (ART 100) 6 p.m.

October 24 – Art Explorers. (Art Museum) 10 a.m.-Noon

October 24 – Reception / Lecture: Brad Vetter ~ Making it: Posters, Prints and Process. (Hiestand Galleries) Reception: 4:30-5:30 p.m.; Lecture: (ART 100) 6 p.m.

October 29 – Lecture: Collectors and Collecting: 35 Years of the Miami University Art Museum; Dr. Robert S. Wicks, Director. (Art Museum) 5:30 p.m.

November November 6 – Lecture: Print Revolution: The Koberger Bible in Historical Context. Dr. Wietse de Boer, Professor, Department of History and Ellen Price, Professor, Department of Art. (Art Museum) 5:30 p.m.

November 14 – Fall Film Series: Herb and Dorothy: You Don’t Have To Be Rockefeller to Collect Art (2008). (Art Museum) 7 p.m.

November 19 – Gallery Talk: To Have and To Hold: Cherishing Our Collection; Jason E. Shaiman, Curator of Exhibitions. (Art Museum) 5:30 p.m.

November 19 – Reception: BFA Capstone Exhibition. (Hiestand Galleries) 4:30-6 p.m.

November 21 – Art Explorers. (Art Museum) 10 a.m.-Noon

Rob Anderson, Five O’Clock, 2013, oil on board, 24” x 36”

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exhibitions @ a glance

visual arts @ miami

August 20 – December 14 35@35: A Museum Collects; Pure Abstraction and Distributing Knowledge: The Printed Image, 1500 to 1800 (Art Museum) August 26 – 30 Grad Summer Sketches (Cage Gallery)

September 1 – October 4 Stacey Lee Webber ~ The Midnight Shift (Hiestand Galleries)

September 3 – October 10 2013 Miami University Young Sculptors Competition for the $10,000 William and Dorothy Yeck Award (Hiestand Galleries) September 8 – November 6 COMING ATTRACTIONS (Voice of America) September 30 – October 11 London Summer Studio (Cage Gallery)

October 16 – November 7 Brad Vetter ~ Making it: Posters, Prints and Process (Hiestand Galleries) October 16 – November 12 Prashant Miranda ~ Sublime Extravaganza (Hiestand Galleries) November 11 – 22 Film + Architecture Studio (Cage Gallery)

November 14 – 26 BFA Capstone Exhibition (Hiestand Galleries)

December 12, 2013 – February 7, 2014 Rob Anderson ~ A Place in Time (Hiestand Galleries) December 12, 2013 – February 13, 2014 Miami University Young Painters Competition for the $10,000 William and Dorothy Yeck Award (Hiestand Galleries) Miami University Art Museum 801 S. Patterson Ave. Oxford, OH 45056 (513) 529-2232 ArtMuseum@MiamiOH. edu www.MiamiOH.edu/ArtMuseum Gallery hours: Tuesday-Friday 10 a.m.-5 p.m.

Saturday Noon-5 p.m.

Closed Sunday-Monday Galleries closed: During exhibition installation and September 2, October 11, November 27-29, December 15, 2013-January 28, 2014.

Hiestand Galleries 124 Art Building Oxford, OH 45056 (513) 529-1883 sfagallery@MiamiOH.edu www.MiamiOH.edu/ HiestandGalleries Gallery hours: Monday-Friday 9 a.m.-4:30 p.m.

Galleries closed: During exhibition installation and September 2, October 11, November 27-29, December 18-31 and January 1-3, 2014.

Cage Gallery 101 Alumni Hall Oxford, OH 45056 (513) 529-7210 arcid@MiamiOH.edu www.arts.MiamiOH.edu/ architecture-interiordesign

McGuffey Museum 401 E. Spring St. Oxford, OH 45056 (513) 529-8380 McGuffeyMuseum@ MiamiOH.edu www.MiamiOH.edu/ McGuffeyMuseum

Gallery hours: Monday-Friday 9 a.m.-5 p.m.

Museum hours: Thursday-Saturday 1-5 p.m.

VOICE OF AMERICA LEARNING CENTER 7847 VOA Park Dr. West Chester, OH 45069 (513) 895-8862 www.regionals.MiamiOH. edu/voalc/