Miami University Art Museum - SPRING 2020 - Visual Arts at Miami Magazine by Richard and Carole Cocks Art Museum at Miami University

SPRING 2020 | VOLUME 8 | ISSUE 2

FEATURED EXHIBITION: MYAAMIA RIBBONWORK PAGES 14–15

PEOPLE OF MUAM: RUTH OVERLY PAGE 7

HIESTAND GALLERIES PAGE 18–19

SPRING EXHIBITIONS: PAGES 12–15

From the Editor

IN THIS ISSUE

Happy New Decade! Welcome 2020! I blinked and ten years have passed by - for eight years now I’ve now been at the Art Museum and have enjoyed publicizing sixteen rounds of exhibitions in our galleries. I continue to be amazed at the quality and uniqueness of our installations and have thrilled at seeing them all come together from ideation through installation. There’s nothing cooler than witnessing the whole process and telling the world about what will come.

From the Director About the Art Museum Chocolate Meltdown Collection News: New Acquisitions Featured Docent: Ruth Overly Group Visits Curricular Connection Fall 2020 Exhibitions Circling ‘Round~Student Art Desire, Conflict & Exchange Myaamia Ribbonwork McGuffey Moments In the Cage: Cage Gallery Hiestand Happenings: Hiestand Galleries Contemporary Art Lecture Series Exhibitions & Programs at a Glance

This past fall it got even better. My daughter Makayla’s eighth grade art teachers brought their classes to the Art Museum on a field trip. Our wonderful docents engaged with them by explaining the exhibitions and challenging them to discuss featured works. This happens regularly at the Art Museum - groups of students of all ages gather around a docent, tour our exhibitions and learn something new outside of the classroom. You can learn more on pages 8-9. As always, I am excited to finish a new issue of the Visual Arts at Miami magazine which features the visual arts exhibitions and programs at Miami University from January through June 2020. This spring the museum will introduce you to the practices of the Myaamia people and their tradition of ribbonwork with works on loan from the Smithsonian Institution and private collections around the country. Then learn about 19th century art and trade East and West, including Ohio! Enjoy artwork created by Miami University students in our seventh Student Response Exhibition, Circling ‘Round. So be sure to ENJOY the Visual Arts at Miami and welcome back to another exciting semester!

SHERRI KRAZL, EDITOR MARKETING/COMMUNICATIONS MIAMI UNIVERSITY ART MUSEUM

3 4 5 6 7 8 9 10 12 13 14 16 17 18 20 22

About the Magazine Visual Arts at Miami (VAAM) is a bi-annual publication of the Miami University Art Museum (MUAM) showcasing visual arts at Miami University for members and the arts community. Distributed in print inside the Journal News and Oxford Press prior to the Fall and Spring semesters, Visual Arts at Miami is also available digitally through the companion blog at blogs. MiamiOH.edu/VisualArts. Check the back cover for a map detail, contact information and hours. Editor, Sherri Krazl On the cover: Detail of mitemhsa ataahsema ‘Woman’s leggings,’ 1870-1880. Wool with glass beads. Courtesy of the National Museum of the American Indian, Smithsonian Institution. 221942.000 .

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From the Director Teekwaakia-Brouillette and Myaamia Identities Today we call it code-switching or style-shifting. In the nineteenth century, for the Myaamia and many other Native American tribes, it was survival. The Indian Removal Act of 1830 stipulated that all native tribes in the eastern U.S. were to be relocated west of the Mississippi. The Myaamia were the last tribe to be removed from Indiana in 1846. Some of the Myaamia were permitted to stay behind. Among those who remained was Teekwaakia or Jean Baptiste Brouillette. Born of a Myaamia mother and a French trader (Michel Brouillette) in southwestern Indiana around 1795, Teekwaakia was fluent in several languages and became widely respected as an interpreter, traditional healer and community leader. Later in life he became a Baptist preacher. He died at his home near Peru, Indiana in 1867. Teekwaakia exemplifies the ability of the Myaamia to transform themselves while retaining their core identity. During his lifetime Teekwaakia was known by several non-native names and titles, each representing aspects of his identity. The French Brouillette/ Beauri-ette/Bouriette became anglicized as Brewett. He also acquired the titles of reverend, captain and chief (akima). A portrait by the American artist James Otto Lewis in our current exhibition on Myaamia ribbonwork highlights Teekwaakia’s multi-cultural identities. Based upon sketches Lewis made of the leader during the Treaty of Mississinewa in 1826, when Teekwaakia served as an interpreter, he titled the striking image “Brewett, A Celebrated Miami Chief.” Teekwaakia’s costume consists of a coin silver headpiece ornamented with spangles and ostrich feathers, a crimson shawl worn a la turban, together with a wool coat “of the latest fashion.” Face paint accentuated his aquiline features. Silver earrings extend over his shoulders. His silver armbands complement a cascade of coin silver gorgets. A pistol grip handle of an undetermined weapon extends over his right forearm.

Volume 8, Issue 2 | Spring 2020

The coin silver ornaments were produced by silversmiths in Philadelphia and other eastern centers. The shawl and coat were made from cloth and wool manufactured in northeastern textile mills. The ostrich feathers were imported from Africa and were considered high fashion in the nineteenth century. An aspect not visible James Otto Lewis (American, 1779-1858); Brewett, A Celebrated Miami Chief, Taken at the Treaty of here but shown in Massinnewa, 1827; Hand-colored lithograph; Miami University Art Museum Purchase; 2005.31 another portrait of Teekwaakia also on display is ribbonwork. George Winter noted that Teekwaakia’s leggings were decorated with imported “silk ribbons of prismatic hues,” displaying a distinctive Myaamia aesthetic. All of these trade goods were made available on the Indiana frontier through distributions during treaty negotiations and the activity of itinerant traders. The Myaamia were able to take these materials and make them distinctively their own. As you study the ribbonwork in this exhibition, consider the choices of particular materials and designs and their histories as objects of cultural identity both in the nineteenth century and today.

Robert S. Wicks, Director Miami University Art Museum & Museums Miami

ART MUSEUM

The Miami University Art Museum, completed in 1978, was designed by Walter Netsch of Skidmore, Owings and Merrill in Chicago, and is situated on three acres of scenic sculpture park grounds. It houses five galleries of changing exhibitions and a growing permanent collection of more than 17,000 artworks. MUAM is accredited by the American Alliance of Museums (AAM) and is a proud member of the North American Reciprocal Museum Association (NARM).

Where is the Art Museum on Campus? For starters, you can’t miss the large, industrial red sculpture by Mark di Suvero on the front lawn. MUAM is also just a 7-minute walk from the Armstrong Student Center, diagonally across from Tappan Hall, at the intersection of S. Patterson Ave. and Chestnut St., right when you enter Oxford off of State Route 27.

What can the Art Museum do for Students? Lots of things! MUAM is a great place to see diverse exhibitions and explore outstanding works of art. You can also work, intern, volunteer, join the Art Museum Student Organization (AMSO) and attend lectures and social events.

What can the Art Museum do for the Public? The Art Museum and Sculpture Park is FREE & OPEN to ALL and is an excellent venue for exploring arts and culture from around the world. Membership in support of programs and exhibitions is available at varying levels. Each one offers a higher level of engagement with the museum via special-invitation-only events and special programs. More information on the member program is available on our website via the Members link.

Hours

Museum Staff

Tuesday–Friday: 10 AM–5 P.M. Saturday: 12–5 P.M. Closed: Sunday, Monday, national holidays, university closures, and during installation (more info on website.) Closures: March 21 & 28, May 25 FREE & OPEN TO ALL!

Dr. Robert S. Wicks, Director

Website MiamiOH.edu/ArtMuseum Location & Contact 801 S. Patterson Ave. Oxford, OH 45056 (513) 529-2232 ArtMuseum@MiamiOH.edu

Debbie Caudill, Senior Program Assistant/Security Cynthia Collins, Curator of Education Mark DeGennaro, Preparator/ Operations Manager Sue Gambrell, Program Associate Sherri Krazl, Marketing/Communications Jason E. Shaiman, Curator of Exhibitions Laura Stewart, Collections Manager/ Registrar

/MIAMIUNIVERSITYARTMUSEUM

@MIAMIU-ARTMUSEUM ART MUSEUM

@MIAMIOHARTMUSEUM

Visual Arts at Miami

Saturday, Jan. 18, 2020 1-5 PM Oxford Community Arts Center 10 S. College Ave. ~ Oxford, OH A creatively delicious fundraiser and friend-raiser to help support the Oxford Community Arts Center and the Miami University Art Museum. Children’s Activities | Chocolate Tastings & Sales Bake Contest | Art Exhibit | Educational Information Chocolate Bar (New) | Silent Auction | FUN FOR ALL AGES!

TICKETS: $7 in advance | $10 at door

(Ticket includes admission plus 5 coupons for sample tastings in the ballroom. Chocolate Bar pours will be on sale in the South Parlor/Bar [21 & up])

Children 12 & under are admitted free

(Coupons for sample tastings are required for children 12 & under.)

Tickets are available online, at the Oxford Community Arts Center (info@oxarts.org, 513-524-8506), or at the Miami University Art Museum.

Volume 7, Issue 1 | Fall 2018

ChocolateMeltdown.com

ART MUSEUM

COLLECTIONS NEWS

In Focus: 19th Century Photographs from Japan

LAURA STEWART, COLLECTIONS MANAGER/REGISTRAR

In anticipation of spring semester’s Art History Capstone Exhibition, Desire, Conflict & Exchange: Art of 19th Century East Asia and the West, Museum Director Bob Wicks turned his expert eye to Cowan’s Auctions. There, he had the serendipitous fortune to discover and purchase a group of more than forty 19th century albumen photographs by the studio of British-Italian photographer Felice Beato (1832-1909). Beato traveled widely in Asia and the Mediterranean and is one of the earliest known war photographers. Not quite ten years after Japan opened to the West around 1854, Beato, along with Charles Wirgman, opened a commercial studio in Yokohama in 1863. Upon ending his partnership with Wirgman in 1869, Beato opened his own studio in Yokohama, “F. Beato & Co., Photographers.” Apparently taken from an album titled “Photographic Views & Costumes of Japan” by F. Beato & Co., Yokohama, more than half of the photographs now in the museum’s collection are hand-colored. They depict images of people and places that, at the time, very few Westerners had ever seen. Represented are formal and informal portraits, street scenes, landscapes, temples and other religious sites. In its original form, the album displayed a caption next to the photograph to which it referred, giving some context to the corresponding image. These texts, although now separated from the images, nonetheless provide insight into how late 19th-century Western eyes viewed the people and culture of Japan. They also indicate that many of these interpretations—flawed as they might be—continued to influence how the West saw the Japanese for many years to come. Beato’s studio employed several Japanese artists as well as photographers. It is thought that the hand-coloring technique applied to many of the images produced by Beato’s studio benefited from the watercolorist and woodblock printing skills of these individuals. One of Beato’s assistants, Kusakabe Kimbei, became a respected photographer in his own right. An example of Kimbei’s work is on display alongside Beato’s as part of the Capstone exhibition.

Felice Beato (Italian-British, 1832-1909) F. Beato & Co., Yokohama Japan Albumen photographs, some hand-colored, circa 1868 Top to bottom, Front Card for Photographic Views and Costumes of Japan, 2019.13.a; Temple of Asaxa, Yedo, 2019.13.41 Bronze Statue of Jeso Sama, 2019.13.31 Mother and Child, 2019.13.15 Miami University Art Museum Purchase

Thanks to Director Wicks’ auction house savvy and Collections Development Committee member’s positive reviews, the Art Museum now boasts a fabulous collection of historic photographs of late Edo-period Japan. We appreciate as well Professor Michael Hatch and his art history students for including some of these images, along with information about them, for visitors to enjoy. If you are interested in seeing more of Beato’s photographs, or other collection objects not on view in the galleries, please contact Collections Manager/Registrar Laura Stewart at stewarle@miamioh.edu or (513) 529-2235 to make an appointment.

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Visual Arts at Miami

FEATURED DOCENT

Retired Art Teacher Ruth Overly puts the “Do” in Docent With her tote of samples hanging from her arm, Ruth gathers a group on a tour around several works on the gallery wall. She begins to explain what it is that is happening in the space. Each semester it is something new. Asking questions, summarizing fun facts and even pulling samples of how woodgrain printing works out of her sack for guests to see and touch - making the exhibition even more meaningful to our guests. Ruth is one of the many docents who meet weekly, learn about our current exhibitions and then help with tours and hands-on activities at the museum. She and her Miami Merger husband, Ron, met in metals class while she was in undergrad for Art Education and he was studying Architecture. She taught art for 20 years in the Youngstown area. In 2004, the two moved back to Oxford, purchased 16 acres and began building thier retirement home together.

In 2011, she learned about the Art Museum and the docent program in her yoga class. She decided to join, and has actively contributed to the work of the museum ever since. Aside from leading group tours and recently facilitating several pinch pot activities, Ruth enjoys being around like minded people–her peer docents. She specifically enjoys learning about the making of a piece and what the artist was thinking. She loves it when she gets to ask kids what they like or think about a work. And hearing them talk about it from their perspective. “I have found that being a docent I get so much more than I give,” she shared. She loves learning more with each new exhibition and experience. “I highly recommend everyone visit the Miami University Art Museum, it’s a great opportunity, close by and FREE and you never know what you might find here.” she commented.

Contact Cynthia Collins, Curator of Education, at collinc5@mamioh.edu for additional information about the museum’s docent program. Volume 8, Issue 2 | Spring 2020

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GROUP VISITS TO THE MUSEUM

Education @ MUAM The Miami University Art Museum’s Education staff work with faculty and K-12 educators to create inquiry-based learning experiences to reinforce classroom curricula, research and special projects. Educators from diverse disciplines routinely integrate artifacts/objects from the museum’s permanent collection or current exhibitions into their curricula with specific learning goals embedded in the gallery-experience. Faculty, staff or K-12 educators interested in tours for your students or group should contact Cynthia Collins, Curator of Education at collinc5@miamioh.edu. Advance notice of two-three weeks is requested.

Spring Shows The Wolves

uncover.

March 11-15

Truth. Integrity. Authenticity.

The Comedy of Errors

Miami University Department of Theatre

April 29–May 3

2019 - 2020

SEASON

$12 adult | $9 senior | $8 student

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Visual Arts at Miami

CURRICULAR CONNECTION

Science Educator Uses Art Museum as Site of Inquiry In teaching science education courses, I look to position students to do the type of inquiry-oriented thinking of scientists. The Art Museum offers unique and powerful opportunities to cultivate scientific mental skills such as critical thinking, collaboration, communication, and creativity. Using a combination of open-ended prompting and scaffolded conversations is required during museum visits in order to transform a passive sight-seeing tour into an active, inquiry-oriented learning experience. Unfortunately, all too often when science is taught in schools the focus is on close-ended questions that give the perception of single, right/wrong answers. The very act of asking questions based on curiosity and wonder is a hallmark of doing science in an authentic way. Every “field trip” to the Art Museum allows me to challenge these socialized visions of science and help develop students’ ability to engage with uncertainty and ambiguity. As students walk around the galleries, they are prompted to be mindful of pieces that catch their attention. Based on aspects of the piece that stand out, students work to ask additional questions and engage with each other in conversations that lead to constructing an overall meaning while also considering alternative interpretations. These are the same mental moves that scientists use to create explanations about our physical world. Scott A. Sander, PhD Associate Clinical Professor, Science Education

Volume 8, Issue 2 | Spring 2020

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Miami University Art Museum Exhibitions AUGUST 25–DECEMBER 12, 2020

COMING Fall 2020

Broadsheets and Calaveras: José Guadalupe Posada (Douglass Gallery) The art of the “calaveras” (skeletons) in Mexican broadsides is synonymous with José Guadalupe Posada and the sensationalized news printed by Antonio Vanegas Arroyo. The broadsides were intended for the lower class as a means of news and entertainment that were in opposition to the standards of the Mexican elite. Posada became best known for his whimsical “calaveras” and elevated the use of the skeleton in newsprint asSATURDAYS satirical FIRST commentary on society as a whole. RESERVE YOUR SPOT Tonality: Light & Dark in Black & White Photography (FOTOFOCUS 2020) (McKie Gallery) This exhibition looks at the formal qualities of black and white photography, with particular attention to the subtle or abrupt gradations of tonality as affected by light. Tonal ranges can draw the viewer’s attention and manipulate their focal point(s) in a work, heighten the experience of the place, events, people, et cetera that set the emotional tone for how a viewer interprets an image. A Continental Journey: European Travel Posters Between the Wars (Farmer Gallery) A Continental Journey transports visitors across Europe, showing off the beautiful sights, sounds and culture of cities across the Continent. This journey also explores the role of tourism propaganda during the aftermath of WWI through the late 1940s as Europe was engaged in and recovering from WWII. Along the way, visitors will learn about the process of lithography, a popular medium for producing the vintage travel posters on display. 10

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Visual Arts at Miami

30th Annual

Miami Performing Arts Wine Tasting

Saturday, February 1 7–10 pm | Millett, Oxford

RESERVE NOW!

$85 per person a $420 for table of 4 a $848 for table of 8 MiamiOH.edu/PerformingArtsWineTasting 513-529-6333

Docent-Led Tours MAR 7 | APR 4 | MAY 2 | 1–2 PM

Available to audiences of all ages, including community groups, families, and friends. To reserve your spot contact Cynthia Collins, Curator of Education at collinc5@miamioh. edu or call (513) 529-2243 at least two weeks in advance.

Oﬃcial Sponsor

MEMBERSHIP HAS NEVER B E E N M O R E R E WA R D I N G . . .

Become part of the Art Museum today!

» Reciprocal members gain free/discounted access to over 1000 museums in North America

FEB 27 | MAR 19 | APR 23

» MUAM memberships support programs, exhibitions and member activities

To join or learn more, visit www.MiamiOH.edu/ArtMuseum, call (513) 529-1887, or stop in the MUAM at 801 S. Patterson Ave

Volume 8, Issue 2 | Spring 2020

ART MUSEUM

EXHIBITION | DOUGLASS GALLERY OPEN JAN 28–JUN 13

CIRCLING ‘ROUND EXHIBITION CELEBRATION RECEPTION AND AWARDS CEREMONY TUE, APR 14, 6–8 PM (AWARDS AT 7 PM) Meet the student artists, enjoy refreshments, celebrate the viewers choice award winners. Co-sponsored with the Art Museum Student Organization.

BY JASON E. SHAIMAN, CURATOR OF EXHIBITIONS In this sixth juried Student Response Exhibition (SRE), Miami University students are called upon to creatively respond to a select theme – the circle. Selecting Circling ‘Round as the main theme enables students to think beyond the limitations of a physical form. Typically represented in two or three dimensions, a circle can also elicit a response in a metaphorical manner and be represented in theoretical and abstract explanations. What else can a circle represent? How can you interpret the form and function of a circle? Does it have different meanings based on historical, cultural, religious or scientific relevance? As a juried exhibition, 32 works created by 27 students and one work created by 50 students were selected through a formal process by a committee. Three works in the exhibition will be chosen for cash awards by votes cast by visitors to the exhibition via a kiosk in the gallery. Winners will be announced at a special reception on April 14 during a public awards ceremony.

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EXHIBITION | FARMER GALLERY OPEN JAN 28–JUN 13 WRITTEN BY JASON E. SHAIMAN, CURATOR OF EXHIBITIONS, DR. MICHAEL HATCH AND ART498

Western powers coerced Japan, China and Korea to open trade relationships within the expanding global economy of the 19th century. The exchange of ideas and artistic styles between Japan, China and Korea had already been in place, as well as trade within each of the East Asian countries. Tensions driven by aesthetic desires and trade advantage fueled conflict and exchange between these nations. Artworks produced during this time both reflected and inspired these dynamics. East Asian aesthetics found a strong following in European countries such as England and France, and in the United States. On a local level, Cincinnati’s famed Rookwood Pottery employed a Japanese artist as director of painting. Most of the objects featured in this exhibition come from the Miami University Art Museum collection, with additions from Special Collections, King Library, private collections, and a special loan from the Crystal Bridges Museum of American Art, Bentonville, Arkansas. Desire, Conflict & Exchange is the culminating work of the 2019 Art & Architecture History Senior Capstone seminar taught by Dr. Michael Hatch. Volume 8, Issue 2 | Spring 2020

East Asian Symposium: Trade, War, Art: East Asian Exchange Past & Present MON, MAR 16 | 5–6:30 PM This symposium examines the current state of economic and cultural exchange with East Asia through the lens of our recent past. Scholars from Miami University and the student-curators of our Spring 2020 exhibition will present short papers on topics from the first foreign residencies at Yokohama, China’s current Belt & Road Initiatives and the Japanese influences on Rookwood. Cosponsored by the East Asian Studies Minor and the Miami University Art Museum.

Above: Tsuneshige (Japanese, active 1894-1904?); Peace Negotiations Between Three Countries: Japan, Korea and China, 1895; Triptych, woodblock prints on paper; Miami University Art Museum Purchase; 2019.18

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EXHIBITION | MCKIE GALLERY OPEN JAN 28–JUN 13

WRITTEN BY ROBERT S. WICKS, GEORGE IRONSTRACK, KARA STRASS AND JASON E. SHAIMAN

peepankišaapiikahkia eehkwaatamenki “Myaamia Ribbonwork” provides a historical context and background to the contemporary revival of ribbonwork among the Miami people. Myaamia ribbonwork is an artform based on the layering, cutting, folding and sewing of ribbons to produce beautiful and complex geometric designs. Since time immemorial, Myaamia ‘Miami Indian’ people have decorated their clothes and bodies using variations on these geometric patterns that are reflective of community traditions, stories and beliefs. It is these geometric patterns that make Myaamia ribbonwork unique from the ribbonwork that is created by other Tribal groups. Myaamia Ribbonwork is a community-curated exhibition developed in collaboration with the Miami Tribe of Oklahoma. Tribal representatives include George Ironstrack and Kara Strass, both staff at the Myaamia Center, Miami University; Julie Olds, Cultural Resources Officer, Miami Tribe of Oklahoma; and Scott Shoemaker, Thomas G. & Susan C. Hoback Curator of Native American Art, History & Culture, The Eiteljorg Museum of American Indians and Western Art, Indianapolis, Indiana, who served as a consultant to the project. The exhibition corresponds with the 20th anniversary of the establishment of the Myaamia Project and is in conjunction with the 2020 Myaamiaki Conference at Miami University. Top to bottom: mahkisinaakana “Mocassins”; Buckskin, wool, silk and glass beads; Collection of the Cranbrook Institute of Science, Bloomfield Hills, MI mitemhsa ataahsema “Woman’s Leggings”; Wool, cotton and glass beads; Collection of the National Museum of the American Indian, Smithsonian Institution ahkimotayi “Panel Bag”; Hemp yarn/twine and wool Collection of the Cranbrook Institute of Science, Bloomfield Hills, MI

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Visual Arts at Miami

peepankišaapiikahkia eehkwaatamenki ‘Myaamia ribbonwork’

peepankišaapiikahkia ahkwaatantaawi ‘let’s make Myaamia ribbonwork’!

GEORGE IRONSTRACK, ASSISTANT DIRECTOR, MYAAMIA CENTER WED, FEB 5 | 3 PM

KAREN BALDWIN, CULTURAL RESOURCE OFFICE, MIAMI TRIBE OF OKLAHOMA AND KARA STRASS, MIAMI RELATIONS ASSISTANT, MYAAMIA CENTER, WED, FEB 19 | 7–8:30 PM WED, MAR 11 | 7–8:30 PM

The Myaamia people are producing ribbonwork once again after losing possession of their cultural heritage for more than a century. This presentation will explore how ribbonwork was produced, the joy of discovery, reconnecting with cultural heritage objects and the techniques necessary to produce them today.

The presenters will share the history of the Myaamia ribbonwork artform and provide a demonstration of how to create ribbonwork. Attendees will have the opportunity to make and take home their own paper ribbonwork bookmark. NOTE: Pre-registration required due to limited seating. Register by e-mail: collinc5@miamioh.edu or call (513) 529-2243.

peepankišaapiikahkia eehkwaatamenki aacimooni (A Ribbonwork Story): Recovery and Renewal of Myaamia Ribbonwork ARTIST SCOTT SHOEMAKER THU, MAR 5 | 5:50–7:05 PM My work as an artist is about recovery and renewal of the art of Myaamia ribbonwork. As a child, my only exposure to ribbonwork was through old family photographs. My interest in learning ribbonwork coincides with my involvement in the revitalization of the language. Ribbonwork has many parallels with our language in that it is an expression of ancestral knowledge, has suffered a period of dormancy, was scattered to places far away from our community, has been brought out of its dormancy, and is once again a part of how we are as myaamiaki (Miami people). Co-sponsored with Contemporary Art Forum

Volume 8, Issue 2 | Spring 2020

ART MUSEUM

McGuffey Moments History in the Making:

The Legacies of Ophia and W. E. Smith STEVE GORDON, ADMINISTRATOR

Teaching, research, service. Of the many academic historians who have embodied this honored Miami tradition, few surpass the accomplishments of William E. and Ophia Smith. Arriving in Oxford in 1926, this husband and wife team would become among Oxford’s foremost authorities on Ohio and local history. Their record of teaching, research and service is remarkable. W. E. Smith, a member of Miami’s history faculty from 1926-1962, wrote seven books, authored 24 entries in the Dictionary of American Biography and was a featured speaker for many years at student assemblies. When preparing their seminal three volume History of Southwestern Ohio: The Miami Valleys (1964), it was estimated the Smiths spent 104 consecutive weeks without getting to bed before midnight. And, from 1941 to 1959 Professor Smith gave over 1,500 speeches away from the Miami campus. As teachers, authors, antiques collectors and public speakers, the Smiths were history’s version of an academic power couple. Ophia Smith earned local acclaim for her books Fair Oxford (1947) and A Buckeye Titan (1953), co-authored with her husband, and Old Oxford Houses (1941; rev. 1976).

She continued to write while in her eighties. In 1959, Professor Smith was awarded a new title: “Dean Emeritus, Research Professor of History and Director of McGuffey Museum” where he oversaw the museum’s relocation from Alumni Library to the McGuffey House. As director of McGuffey Museum, Smith supervised the house’s renovation, the acquisition of the Maude Blair McGuffey Reader collection, and the hiring of student interns. Following retirement as Professor of History in 1962, Smith was awarded an honorary degree. W. E. Smith died in 1969 and Ophia in 1994. The Smiths’ community-giving legacy continues today. Since 1982, the Smith Family has funded history related projects. In 1996 the W. E. Smith Family Charitable Trust was established to fund the study of area history, disseminate historical information, further historical research, and engage in historic preservation through the acquisition and scientifically appropriate care of papers, manuscripts, diaries and photographs. The Smith Family Trust

annually funds history related projects in southwest Ohio that includes walking tour booklets, brochures, books, and exhibits, to name a few. The Smith family, via a challenge gift, established the Smith Library of Regional History, ranked among Ohio’s foremost local history research libraries, the creation of the W. E. Smith Scholar Leader Room in Miami’s Stoddard Hall and an endowed professorship in Miami’s History Department. June 2020 marks sixty years since the relocation of McGuffey Museum to the McGuffey House. It represents one of countless local history projects in southwest Ohio guided and supported by the Smiths and the Smith Family Charitable Trust. Top right: W. E. Smith in the McGuffey Library, ca. 1960; Bottom left: W. E. Smith in McGuffey Museum Parlor, ca. 1962; Bottom center: W. E., Ophia and Joseph William “Joe Bill” Smith, ca. 1926. Photos courtesy Smith Library of Regional History.

McGuffey House & Museum Open Thu–Sat: 1–5 PM 401 E. Spring St. Oxford, OH 45056 (513) 529-8380 McGuffeyMuseum@MiamiOH.edu MiamiOH.edu/McGuffey-Museum

CAGE GALLERY

Visual Arts at Miami

IN THE CAGE

CAGE GALLERY Alumni Hall, Lower Level 350 E. Spring St. Oxford, OH 45056 MiamiOH.edu/cca/academics/arch-id

MAR 8–14 | URBAN ROOFTOP LANDSCAPE IN LUXEMBOURG

FEB 23–MAR 7 | TIME FOR AN UPDATE

The studio proposal was to create a coworking, urban landscape atop a series of roofs. The site composed of flat and pitched roofs, as well as internal courtyards. The project challenged students to reconsider the roofscape as a new landscape altogether, with the potential for architecture to develop directly in the roofscape.

Recent work from Miami University Center for Community Engagement

APR 5–18 | DRAWINGS FOR THE VISUALLY IMPAIRED

This installation features recent community and student works, including excerpts from written reflections, images of 1324 Race design/build, components from a November 2019 installation entitled Gentrification Displaces Memory, and representations of Time for an UPdate? our fringe contribution to Cincinnati’s BLINK digital projection festival.

The Drawings for the Visually Impaired project will conduct an experiment using digital and mechanical processes of fabrication to re-create paintings in ceramic, into a form which might be easier for those with visual impairments to experience.

FEB 2–22 | GRADUATE PRE-THESIS SOIREE Graduate students will present initial proposals for their thesis topics to develop over the coming year.

SPRING 2020 Volume 8, Issue 1 | Fall 2019

CAGE GALLERY

HIESTAND HAPPENINGS NORTH GALLERY | SPRING 2020

JAN 19–MAR 13 2020 MIAMI UNIVERSITY YOUNG PAINTERS COMPETITION FOR THE $10,000 WILLIAM AND DOROTHY YECK AWARD Through the generous gift from William (MU1936) 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 painting. 2020 JUROR: EBONY G. PATTERSON, ARTIST, CHICAGO, ILLINOIS AND KINGSTON, JAMAICA. [ebonygpatterson.com] 2020 Finalists: Olivia Baldwin, Mansfield, Connecticut; Ethan Caflisch, Los Altos Hills, California; Timothy Harding, Fort Worth, Texas; Andrew Ina, Columbus, Ohio; Taylor Loftin, Fayetteville, Arkansas; Liz Moore, St. Louis, Missouri; Patrick Oleson, Miami, Florida; Jinie Park, Philadelphia, Pennsylvania; Maia Snow, Austin, Texas; and Warith Taha, Philadelphia, Pennsylvania. JUROR LECTURE: THU, FEB 6, 5:50–6:40 PM, ART 100 RECEPTION: FRI, FEB 7, 5:15–6:15 PM AWARD CEREMONY: 5:45 PM

APR 7– 15 | BFA CAPSTONE EXHIBITION Department of Art senior studio majors participating in the semester long Capstone course feature their latest visual investigations in ceramics, printmaking, painting, metals and jewelry, photography, sculpture and digital media. RECEPTION: THU, APR 2, 4:30–5:30 PM

APR 21–29 | ASHLEY CARROLL | PEOPLE WHO MAKE YOU LAUGH CAN MAKE YOU CRY, MFA THESIS EXHIBITION My artwork explores the diversity and multiplicity of Black American hair. I use found materials and recycled synthetic hair to emulate texture and various hairstyles found in Black American hair culture. According to celebrities, media and business professionals, natural curly hair is ‘wrong’, while straight hair is ‘good’. Having these recollections and personal experiences have left me compelled to explore the racialized notion of beauty from a black feminist point of view. [ctshashly4.wixsite.com/ashleyc]

MAY 4–12 | AUSTIN CATHEY | MAPPING THE STORM, MFA THESIS EXHIBITION I’m currently interested in the intersections between painting, printmaking, and drawing as I navigate abstract art, my place as a contemporary artist, and the artistic legacy of seeking the sublime and using visual experience as a vehicle to explore the vast forces that expand beyond our understanding. This current body of work deals with the sensation of being lost, often within a turbulent environment, as I work through the storm of upheaval that encompasses not only myself, but our social, political and environmental worlds. Within these large-scale works, I think of myself as a cartographer, utilizing different languages of mapping to construct paintings and drawings that simultaneously create and navigate terramorphic environments in a state of unrest. These works often utilize a satellite perspective of these storms, not only as a mapping mechanism, but also to reflect on how very small we are from larger - and more spiritual - perspectives. [austincatheyart.com]

HIESTAND GALLERIES

Visual Arts at Miami

GALLERY HOURS: MON–FRI: 9 AM–4:30 P.M. Other hours available by appointment GALLERY CLOSURES: DURING EXHIBITION INSTALLATION JANUARY 1–7, 10, 13, 17, 20, & 24; MARCH 23–27; MAY 13–AUG 30.

. ROBERT E. & MARTHA HULL LEE GALLERY | SPRING 2020

JAN 28–FEB 28 ALEX HEILBRON | HIGH SHAME Alex Heilbron, winner of the 2019 William and Dorothy Yeck Young Painters Competition by writer and critic for The Nation, Barry Schwabsky, shares her latest studio works in the exhibition High Shame. Heilbron, is currently an MFA candidate at UCLA, and exhibits her artwork nationally and internationally. [alexheilbron.com]

MAR 6–APR 3 REVERBERATIONS: CECILIA VÁZQUEZ In the exhibition, Reverberations, Cecilia Vázquez includes artworks that span across the last several years. Though generated from sensations of still life and landscape, as her pieces evolve, she develops compositions that bind contradictory elements together into continuous images. Representations and inventions collide for the works to provoke discoveries and unexpected connections, while articulating personal metaphoric constructions particular to Vázquez’s practice of painting as a language. [cecilia-vazquez.blogspot.com]

LECTURE BY THE ARTIST: FRI, FEB 8, 4 PM, MIAMI UNIVERSITY ART MUSEUM

RECEPTION FOR THE ARTIST:

THU, MAR 12, 4–5 PM

5:15–6:15 PM, HIESTAND

ARTIST TALK: 5:50 PM, ART 100

APR 13–24 CHAD EGGAR | UNTIL WE MEET AGAIN, MFA THESIS EXHIBITION My artwork is honest. I depict reality as I remember it. The images that I create are optimistically nihilistic. They are vehicles for casual or mundane experiences, both existential and humorous. These silent moments are contradictory; at times wonderfully peaceful, yet hopelessly lonely. [chadmeggar.com] MAY 1–12 ASHLEY CARROLL | INVITATION Invitation is a space of cultural reflection through the sense of tactility and a commonly asked question: ‘Can I touch your hair?’. This series of identity-based portraits forces a historicallycharged dialogue for exploration of the unknown. [ctshashly4. wixsite.com/ashleyc]

GALLERIES

Hiestand Hall | 401 Maple St., Oxford, OH 45056 Galleries located on 1st level Miamioh.edu/hiestand-galleries |HIESTAND (513) 529-1883 GALLERIES Volume 8, Issue 2 | Spring 2020 ANN TAULBEE, DIRECTOR | taulbeae@miamioh.edu

All receptions are in the lobby of Hiestand Galleries All lectures are in ART 100, 19 unless noted otherwise.

CONTEMPORARY ART

T H U R S D AY S 5 : 5 0 – 7 : 0 5 P M | A R T B U I L D I N G , R O O M 1 0 0 (*unless otherwise noted)

EBONY PATTERSON

FEB 6 | MIAMI UNIVERSITY YOUNG PAINTERS JUROR Ebony Patterson is known for her multimedia installations, drawings and tapestries. Her work has shown on a national and international scale, most recently at Hales New York and at the Speed Museum, Louisville, KY, and was organized by the Pérez Art Museum Miami Chief Curator Tobias Ostrander, with the initial showing in 2018, during Art Basel Miami. [ebonygpatterson.com]

SCOTT SHOEMAKER

LARRY RUSHING

FEB 13 | ART & JAZZ: IMPROVISATIONAL RHYTHM | SEVEN HEELS Larry Rushing’s talk will be about his process and the underlying themes in his work. In his still life compositions, he uses transparency opposing opacity, and an organic linear quality in contrast to geometric angles. His paintings reflect an improvisational rhythm akin to jazz, which allows him to personify his own life experiences and thematic expression regarding femininity. [larryrushingart.com]

ROSCOE WILSON

FEB 20 | SPILL | 87 DAYS PROJECT, #38 MAY 27, 2016 Roscoe Wilson’s work involves the dilemma of consumerism and waste in contemporary society. His environmental values were shaped in this mostly rural Mid-western setting. Growing up in northern Indiana and southern Michigan enabled Wilson to experience nature and discover an awareness that only a forest, lake and field can offer. [roscoewilson.com]

ALAN POCARO

FEB 27 | UFOS ARE REAL, AND YOUR PARENTS HAVE BEEN LYING TO YOU THIS WHOLE TIME UFOs are Real... is a fascinating, discursive jaunt through the mental conceptions that allow us to maintain the illusion of narrative coherence in an inherently unstable, formless world. Alan Pocaro is Assistant Professor of Printmaking and Foundations at Eastern Illinois University. [alanpocaro.com]

MAR 5 | RECOVERY & RENEWAL: MYAAMIA RIBBONWORK My work as an artist is about recovery and renewal of the art of Myaamia ribbonwork. My interest in learning ribbonwork coincides with my involvement in the revitalization of the language. Ribbonwork has many parallels with our language in that it is an expression of ancestral knowledge, was dormant, was scattered far from our community, has returned out of its dormancy, and is who we are as myaamiaki (Miami people).

COLLEGE OF CREATIVE ARTS

Visual Arts at Miami

LECTURE SERIESSpring 2020 ART 281: CONTEMPORARY ART FORUM

CECELIA VÁZQUEZ

MARISSA SANEHOLTZ

ALLISON FISHER

J.LEIGH GARCIA

& BOB CICERO

MAR 12 | PAINTING: TESTIMONY OF A PERSONAL PROCESS DISPLACED REFLECTION Cecelia Vázquez will discuss her painting process, from rough ideas and her sources leading to the works she exhibits. She will focus on how particular formal choices construct meaning in her work. She is a Tenured Professor at the State University of Morelos in Mexico. [cecilia-vazquez. blogspot.com]

Volume 8, Issue 2 | Spring 2020

APR 9 | PRACTICE AND PEARLS OF WISDOM From gossip to tattoo and the incorporation of found materials to the highly technical process of champlevé enameling, this talk will cover the inspiration behind the physical aspects of Saneholtz’s studio practice. She is also interested in creating opportunities for other artists as cofounder of a traveling residency program, the Smitten Forum. [marissasaneholtz.com]

APR 16 | (GLOBE COLLECTION AND PRESS AT MICA): IN THE GROOVE WITH GLOBE The historic Globe Collection illuminates history, race and culture while serving as a modern lens to consider contemporary challenges of tools and craft. The Globe Collection and Press at MICA continues to inspire through education, archiving efforts and in the design of new commercial work [globeatmica.com]

DEPARTMENT OF ART

APR 23 | VIGILANTES Major events in Texas history such as the Mexican-American War, Battle of the Alamo, Treaty of Guadalupe Hidalgo, and Bracero Program have created a complex relationship between J. Leigh Garcia’s two cultures: Texans and Mexicans. The residual racial discord that has resulted from these historic moments is both the context and focus of her work. [jleighgarcia.com]

VISUAL ARTS Spring 2020 AT A GLANCE JAN SAT, JAN 18 | 1–5 PM Chocolate Meltdown OXFORD COMMUNITY ARTS CENTER JAN 19–MAR 13 2020 Miami University Young Painters Competition ART HIESTAND JAN 28–JUN 13 Circling ‘Round: A Student Response Exhibition ART MUSEUM

FEB SAT, FEB 1 | 7–10 PM The Millett Gala ~ Performing Arts Wine Tasting MILLETT FEB 2–22 Graduate Pre-thesis Soiree CAGE WED, FEB 5 | 10 AM–5 PM New Exhibitions Open House ART MUSEUM WED, FEB 5 | 3 PM peepankišaapiikahkia eehkwaatamenki ‘Myaamia ribbonwork’ ART MUSEUM THU, FEB 6 | 5:50–7:05 PM Ebony Patterson: Miami University Young Painters Juror ART 100

JAN 28–JUN 13 Desire, Conflict & Exchange: Art of 19th Century East Asia and the West ART MUSEUM JAN 28–JUN 13 Myaamia Ribbonwork ART MUSEUM JAN 28–FEB 28 Alex Heilbron | High Shame HIESTAND

FRI, FEB 7 | 4 PM Alex Heilbron | High Shame ART MUSEUM FRI, FEB 7 | 5:15–6:15 PM Artist Reception – Alex Heilbron | High Shame HIESTAND FRI, FEB 7 | 5:15–6:15 PM Miami University Young Painters Awards & Reception HIESTAND THU, FEB 13 | 5:50–7:05 PM Larry Rushing: Art & Jazz Improvisational Rythym | Seven Heels ART 100 WED, FEB 19 | 7–8:30 PM peepankišaapiikahkia ahkwaatantaawi ‘let’s make Myaamia ribbonwork’! ART MUSEUM

MAR THU, MAR 5 | 5:50–7:05 PM peepankišaapiikahkia eehkwaatamenki aacimooni (A Ribbonwork Story): Recovery and Renewal of Myaamia Ribbonwork ART MUSEUM MAR 6–APR 3 Reverberations: Cecilia Vázquez HIESTAND

THU, FEB 20 | 5:50–7:05 PM Roscoe Wilson: Spill | 87 Days Project, #38, May 27, 2016 OXFORD COMMUNITY ARTS CENTER FEB 23–MAR 7 Time for an Update CAGE THU, FEB 27 | 10 AM–NOON Art Explorers (Ages 3–5) ART MUSEUM THU, FEB 27 | 5:50–7:05 PM Alan Pocaro: UFOs are Real, and Your Parents have been Lying to You This Whole Time ART 100

For more information visit: miamioh.edu/sca/events

SAT, MAR 7 | 1–2 PM Docent-Led Tours (by reservation) ART MUSEUM

THU, MAR 12 | 4–5 PM Artist Reception – Cecilia Vázquez | Reverberations HIESTAND

MON, MAR 16 | 6:30–8 PM Gallery Talks & Reception: Desire, Conflict & Exchange ART MUSEUM

MAR 8–14 Urban Rooftop Landscape in Luxembourg CAGE

THU, MAR 12 | 5:50–7:05 PM Cecilia Vázquez | Painting Testimony of a Personal Process Displaced Reflection ART 100

THU, MAR 19 | 10 AM–NOON Art Explorers (Ages 3–5) ART MUSEUM

WED, MAR 11 | 7–8:30 PM peepankišaapiikahkia ahkwaatantaawi ‘let’s make Myaamia ribbonwork’! ART MUSEUM

APR THU, APR 2 | 4:30–5:30 PM Reception – BFA Capstone Exhibition HIESTAND SAT, APR 4 | 1–2 PM Docent-Led Tours (by reservation) ART MUSEUM APR 5–18 Drawings for the Visually Impaired CAGE APR 7–15 BFA Capstone Exhibition HIESTAND

MON, MAR 16 | 5–6:30 PM East Asian Symposium: Trade, War, Art: East Asian Exchange Past & Present ART MUSEUM

THU, APR 9 | 5:50–7:05 PM Marissa Saneholtz | Practice and Pearls of Wisdom ART 100 APR 13–24 Chad Eggar | Until We Meet Again, MFA Thesis Exhibition HIESTAND TUE, APR 14 | 6–8 PM Circling ‘Round Reception & Awards Ceremony ART MUSEUM THU, APR 16 | 5:50–7:05 PM Allison Fisher & Bob Cicero | (Globe Collection and Press at MICA): In the Groove with Globe ART 100

MAY MAY 1–12 Ashley Carroll | Invitation HIESTAND SAT, MAY 2 | 1–2 PM Docent-Led Tours (by reservation) ART MUSEUM

FEB 5 10 AM–5 PM

APR 21–29 Ashley Carroll | People Who Make You Laugh Can Make You Cry, MFA Thesis Exhibition HIESTAND THU, APR 23 | 10 AM–NOON Art Explorers (Ages 3–5) ART MUSEUM THU, APR 23 | 5:50–7:05 PM J. Leigh Garcia | Vigilantes ART 100

MUSEUM & GALLERY INFO Miami University Art Museum

McGuffey House & Museum

801 S. Patterson Ave., Oxford, OH 45056 (513) 529-2232 ArtMuseum@MiamiOH.edu MiamiOH.edu/ArtMuseum

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

Gallery hours:

Museum hours:

Tuesday–Friday: 10 AM–5 PM Saturday: 12–5 PM

Thursday–Saturday: 1–5 PM

Hiestand Galleries

Cage Gallery

401 Maple St., Oxford, OH 45056 (513) 529-1883 sfagallery@MiamiOH.edu MiamiOH.edu/HiestandGalleries

101 Alumni Hall, Oxford, OH 45056 (513) 529-7210 archid@MiamiOH.edu Arts.MiamiOH.edu/architecture-interior-design

Gallery hours:

Monday–Friday: 9 AM–4:30 PM

Monday–Friday: 9 AM–5 PM