Sheldon Mission Through our collections, exhibitions, and programs, Sheldon Museum of Art inspires inquiry and discovery, serving the University of Nebraska, the state, and beyond.
Sheldon Art Association Board of Trustees Jason Bombeck Kara Brostrom David Clark Geoff Cline Bart Dillashaw Daniel Grasso Jon Gross, President Julie Jacobson
Jean Jeffrey Brennen Miller Cindy Morris Tracy Scott Clay Smith Terry Wittler Matthew Wood Donna Woods
Emeritus Members
Honorary Members
David Asche Jack Campbell Dale L. Gibbs Jo Ann Kimball Pat Lundak Martha Richardson Carol Rustad Art Thompson Rich Vierk
Annie Crimmins Richard DeBuse Candy Henning Kathryn LeBaron Robert Nefsky Victoria Northrup Bob Ripley Rhonda Seacrest Lisa Smtih
12th and R Streets University of Nebraska–Lincoln 402.472.2461 sheldonartmuseum.org • @SheldonMuseum Admission is free Tuesday–Saturday, 10 AM–4 PM Cover Photo by Kale Gardner, a junior majoring in secondary social science education.
Gaston Lachaise (Paris, France 1882–New York, NY 1935), Floating Figure (detail; with mask). Bronze, 1927, cast after 1935; 501/2 × 903/4 × 25 inches. Sheldon Museum of Art, University of Nebraska–Lincoln, bequests of Frances Sheldon and Adams Bromley Sheldon, U-701.1969.
Director’s Welcome
Occasionally circumstances give a veneer of prescience to off-the-cuff comments made for rhetorical purposes. Although such remarks should not be mistaken for leadership, they can serve a useful purpose in an organization. That’s been the case at Sheldon this year. For us, the rhetorical became real in March with the closure of the museum due to the coronavirus pandemic. Once a speculative exercise, my remark: “If we had six months to close the doors, imagine what we could get done behind the scenes,” became our rallying call.
Sheldon remains a venue for students, faculty and staff, alumni, and visitors to engage with art and one another. This fall we offer our programming online and hope that you’ll join us for these events: Look at Lunchtime, 15-minute dialogues on individual artworks on view, the second Thursday of the month on Facebook Live. Cocktails with Curators, events at which mixology meets art. For information, contact Laurel Ybarra at laurel.ybarra@unl.edu. A Conversation with Artist Radcliffe Bailey, whose work is on view in Person of Interest, on November 5. Registration is available at go.unl.edu/radcliffe-bailey.
In the past several months, we have indeed been working behind the scenes—as well as on new scenes—to create museum experiences for students, researchers, and art lovers who are visiting from their homes or who are physically distanced in our galleries. You can learn about our recent projects in the pages of this newsletter and experience them for yourself in the museum, on our website, and in social media. Some of our most essential work remains quietly behind the scenes, however. We’ve built upon the online records for the 13,000 artworks in Sheldon’s collection, creating learning guides for all of our current exhibitions, offering events via social media and teleconferencing, and participating in remote teaching. To date, we have made nearly 100,000 edits to our collection databases. These include everything from creating entirely new records for incoming acquisitions to updating existing files, ensuring the collection content you seek is current and accurate. Regardless of your location, you may access didactic information for each artwork in the exhibitions currently on view: Person of Interest, Sheldon Treasures, Small Abstractions, and Tales of Genji I. These learning guides are available at sheldonartmuseum.org/guides, as well as on the individual exhibition pages on our website. Additionally, we are creating virtual tours of the exhibitions through street view-style scans of our galleries. In this year of remote learning, social distancing, and teleconferencing, we are particularly mindful our role as stewards of enduring educational and cultural legacies. We invite you to visit Sheldon online, as well as in person, to experience our historic collection presented with the aid of today’s technology. We look forward to seeing you soon.
Wally Mason Director and Chief Curator
Helen Frankenthaler (New York, NY 1928–Darien, CT 2011), Tales of Genji I Thirty-four-color woodcut from eleven woodblocks on light sienna TGL handmade paper, 1998; 421/4 × 471/4 inches Sheldon Museum of Art, University of Nebraska–Lincoln, Olga N. Sheldon Acquisition Trust, U-6898.2020
New Staff Erin Hanas, Jackie Spackman, and Tayler Lord Erin Hanas joined Sheldon as curator of academic engagement in mid-February. Previously she was associate curator of academic programs at the Institute for Contemporary Art at Virginia Commonwealth University and, prior to that, coordinator of academic programs at the Nasher Museum of Art at Duke University. At Sheldon, Erin directs all academic and engagement initiatives and works to connect faculty and students from all disciplines with the museum’s collections, exhibitions, and programs. Erin earned her PhD in art history from Duke University, MA in modern art history, theory, and criticism from the School of the Art Institute of Chicago, and BA in art and German from Central College in Pella, Iowa. In addition to her career in museums, she has worked in glassblowing and academic publishing.
Jackie Spackman, assistant curator of engagement, received her MA in art history from University of Nebraska–Lincoln. She has been an adjunct instructor in art history on the Lincoln campus, as well as at the University of Nebraska at Omaha and Southeast Community College. At Sheldon, Jackie coordinates the museum’s public programs and facilitates student and faculty connections to Sheldon’s collection. This includes managing K–12 programing, overseeing Sheldon’s volunteer docent program, organizing the Sheldon Statewide exhibition, and serving as the staff coordinator for the Sheldon Student Advisory Board. After utilizing the collection as both a student and teacher in previous work, Jackie is thrilled to be in this new role, connecting students and the community with the museum.
Tayler Lord comes to the musem from the world of book publishing, having worked as a publicist at the University of Nebraska Press, Princeton University Press, and BEOTIS Creative. As Sheldon’s events coordinator, she works with the event operations manager to ensure the smooth and successful implementation of events, from venue rentals by external clients to museum-specific programming. She is also a member of the visitor services team, offering outstanding customer service to guests by answering questions and providing information on the building and its collection. Tayler also serves on the social media team and uses her background in publicity to help create and share clear and engaging messaging on each of Sheldon’s social media platforms.
Kara Brostrom, new member of the Sheldon Art Association Board of Trustees Kara Brostrom has been elected to the Sheldon Art Association Board of Trustees for 2020–22. Originally from Grand Island, she earned a bachelor’s degree in psychology and a juris doctor from the University of Nebraska. Kara’s childhood included many visits to art museums thanks to her mother’s love of art. This early art education prompted Kara, as a university student, to take a number of art history classes, which futhered her art appreciation and led to her interest in serving on the SAA board. A partner in Ball, Loudon, Ebert, & Brostrom, LLC, Kara specializes in estate planning, estate administration, and business succession. She received the 2020 Outstanding Young Lawyer Award from the Nebraska State Bar Association. She is active in the community as a member of Junior League of Lincoln and president of the Gamma Phi Beta Building Association. Kara and her husband, Ben Williamson, live in Lincoln.
Welcome to the (Anywhere) Museum
Sheldon Treasures in September 2020, as seen through a Matterport scan of the Roseann and Philip L. Perry Gallery.
In the age of social distancing, it’s more important than ever for Sheldon to provide online accessibility to its collection. We are happy to reveal a few new digital initiatives to that end. Beginning this fall, each exhibition page on Sheldon’s website will host a learning guide that includes an entry for each artwork on view, including an image and all label information. These guides are accessible no matter where you are and what device you use, be it a desktop computer, a tablet, or even your phone. Also on the exhibition pages, you will find street viewstyle scans of each gallery, which we have created and uploaded using a service called Matterport. Users can move from room to room, examining artwork and labels in context. This allows visitors to participate in virtual tours of Sheldon exhibitions with staff members, or simply explore the galleries at one’s leisure from the comfort of anywhere one happens to be. To check out these new offerings, visit Sheldon at sheldonartmuseum.org/exhibitions and click on the exhibition of your choice. From there you will be able to view the new learning guides and virtual galleries on any device. By bringing these tools online, we hope to give visitors and educators greater flexibility for engaging with Sheldon’s exhibitions, so that even when you can’t be in the museum, you can be in the museum.
Learning guides hosted by Issuu can be viewed, shared, or downloaded on any desktop or mobile device.
Compact Rhythms installation at Chadron State College, September 2020.
Sheldon Statewide 2020–21 Compact Rhythms Sheldon Statewide is an annual exhibition and outreach program through which artworks from the museum’s collection travel to communities across the state. Since its inception in 1987, the exhibition series has reached over 360,000 people in twenty-five Nebraska communities with an average annual attendance of 5,000.
2020–21 Exhibition Tour Chadron State College September 2–29, 2020 Sponsored by the Chadron State College Galaxy Series Prairie Arts Center, North Platte October 2–28, 2020 Sponsored by NebraskaLand National Bank, Mike Jacobson, president and CEO, and the Art Study League of North Platte Grand Island Public Library January 6–February 1, 2021 Sponsored by the Grand Island Public Library Foundation Beatrice Public Library February 3–March 1, 2021 Sponsored by the Beatrice Public Library Foundation Cornerstone Bank, York March 3–29, 2021 Sponsored by Cornerstone Bank Gallery 92 West, Fremont March 31–April 26, 2021 Sponsored by the Fremont Area Art Association
The 2019–20 Statewide exhibition, From Where I Stand, traveled to six Nebraska communities before its tour was cut short in York in March 2020. The exhibition was unable to visit the venues of Falls City and Beatrice due to coronavirus concerns and closures. Now in its thirty-third year, the series presents Compact Rhythms, a selection of paintings and prints by thirteen twentieth-century artists who explored different modes of abstraction, employing nonrepresentational forms in a variety of ways. Some have drawn from real world imagery, manipulating and simplifying forms. Others abandoned the real world completely, creating works that are purely nonobjective, or have no reference to our physical world. They demonstrate an artist’s interests in exploring the composition of an artwork and exploiting its materiality to various ends, such as to emphasize the flatness of the canvas, the sweeping brushstrokes of paint, and the potential of color. The exhibition underlines the importance of scale, focusing on instances where artists chose deliberately to work on a smaller scale. The works provide opportunities for close encounters with art that allow the viewer’s gaze to linger over the surface of the paintings and prints in order to observe the materials used and the forms depicted. Compact Rhythms builds on the exhibition Small Abstractions currently on view at Sheldon, tying our Statewide outreach more closely with our exhibition season at the museum. The exhibition features works by artists Joseph Albers, Grace Hartigan, Alfred Henry Maurer, Joan Mitchell, Corita Kent, Seong Moy, and Sylvia Wald among others. The Sheldon Statewide exhibition series receives funding support from Farmers Mutual Insurance Company of Nebraska, Rhonda Seacrest, the Nebraska Arts Council and Nebraska Cultural Endowment, and the Sheldon Art Association.
Stalder Gallery, Falls City Library and Arts Center April 28–May 24, 2021 Sponsored by the Richardson County Arts and Humanities Council Sylvia Wald (Philadelphia, PA 1915–New York, NY 2011), Farmer’s Antic Seven-color serigraph, 1955; 22 × 161/2 inches Sheldon Museum of Art, University of Nebraska–Lincoln, Anna R. and Frank M. Hall Charitable Trust, H-430.1956
Sheldon’s volunteer docents were among the first to study works in the Collection Observation Lab.
Sheldon’s New Collection Observation Lab Construction of Sheldon’s Collection Observation Lab was completed in early January. Located in the museum’s lower level, this new space features a wall-mounted easel system, large moveable tables, stackable stools, additional lighting and security, and a large screen for digital presentations. It was designed primarily to allow classes and scholars access to objects in the museum’s collection that are not on view in the galleries. The first university class to use the new space was Beginning Printmaking II. Instructor Toan Vuong brought eight students on January 30 to closely study prints by artists ranging from Rembrandt to Goya to Ghada Amer. Other spring semester visits were with classes in art history, photography, and honors. In the short period from early February to mid-March, over 100 individuals (including University of Nebraska students, faculty, and staff; museum docents; and Sheldon Art Association members) were able to view and study works of art in the Collection Observation Lab. Sheldon staff utilize the lab for various meetings. Collection staff (registrars and curators) also use the room as a workspace for viewing and working with objects in the collection, as well as receiving new acquisitions. While this year’s social distancing will limit the number of visitors in the lab at any given time, we are experimenting with various uses of the space, including virtual collection observation sessions with classes that are being taught asynchronously or entirely online. The Collection Observation Lab is open by appointment Monday– Friday 9 AM–4 PM. To request a visit, complete the online form at sheldonartmuseum.org/COL or contact Erin Hanas, curator of academic engagement, at 402.472.3541 or erin.hanas@unl.edu. The Collection Observation Lab under construction.
Recent Acquisition Nicholas Galanin The American Dream is Alie and Well
Galanin reminds us that the American Dream has been and remains out of reach for the country’s Indigenous peoples—it is “a lie,” not “alive and well.”
Extending a string of recent acquisitions of works by Native American artists Jaune Quick-to-See Smith, Neal Ambrose Smith, and Emmi Whitehorse, Sheldon Museum of Art has purchased a visually striking sculpture by Nicholas Galanin (b. 1979), a Tinglit/Unangax multidisciplinary artist and musician who lives and works in Sitka, Alaska. Titled The American Dream is Alie and Well, the work features a polar bear skin rug made from an American flag, which has been adorned with gilding on its teeth, plastic beads for its eyes, and .50 caliber bullets as its claws. By juxtaposing the flag with the tools and spoils of westward expansion, Galanin adroitly debunks the myth of the American Dream. Even though this fundamentally American idea of upward mobility is seemingly guaranteed by the Declaration of Independence to all willing to work for it, Galanin reminds us that the American Dream has been and remains out of reach for the country’s Indigenous peoples—it is “a lie,” not “alive and well.”
Galanin uses the polar bear, a potent symbol of the effects of climate change, to visualize the fraught history of Native Americans in the United States. Just as polar bears are being displaced from their traditional Artic sea ice by global warming, Indigenous peoples in the United States have endured a history of forced relocation, in addition to theft and genocide, resulting from westward expansion justified by the doctrine of Manifest Destiny. Galanin’s polar bear is thus a powerful representative of the ideals that underpin the foundation and early history of the United States of America. It has been slain by American expansionism, with the reminder of its defeat literally part of its very fabric. By putting forth his polar bear as a bear skin rug, Galanin also calls attention to another form of American aggression—the tradition of trophy hunting. Unlike Native Americans who hunted for sustenance, this type of hunting is distinguished by recreation and driven by the need to collect and display impressive trophies. Galanin makes evident such greed and violence by gilding the bear’s teeth and using .50 caliber bullets as its claws. The juxtaposition of symbols of patriotism and hostility gains poignancy and urgency when viewed through the lens of Galanin’s biography. According to the artist, he made the sculpture after his younger brother died on his final tour of Afghanistan, in a war that Galanin describes as “[one that] I don’t believe was ever ours.” As a result, the war and violence embodied in this work again speak to the long and continued history of American hostility against the “other,” whether it be the “other” in the form of Native Americans during the nineteenth-century period of Manifest Destiny, or the “other” in the form of Islamic extremists during this twenty-first-century war on terror. In this provocative work, Galanin thus asks viewers to consider how they are complicit— whether intentionally or unwittingly—in the American expansionist project, an inquiry that is especially timely within the context of a university art museum located on the campus of a land-grant university.
Nicholas Galanin (born Sitka, AK 1979) The American Dream is Alie and Well US flag, felt, .50 caliber ammunition, foam, gold leaf, and plastic; 84 x 84 x 9 inches Sheldon Museum of Art, University of Nebraska–Lincoln, Robert E. Schweser and Fern Beardsley Schweser Acquisition Fund through the University of Nebraska Foundation, U-6908.2020
Recent Sheldon Student Advisory Board Acquisition DANKE MERCI THANK YOU GRACIAS ARIGATO Plastic Bag The Sheldon Student Advisory Board is a group of students, in various academic programs at the University of Nebraska, who advise the museum on student interests and issues. For the third year running, the group has researched and selected an artwork for Sheldon’s collection. This year the students recommended the purchase of a three-dimensional print by Analia Saban, a conceptual artist whose work in painting, drawing, printmaking, and sculpture pushes the limits of each medium. After much research and consideration, the students chose Saban’s print DANKE MERCI THANK YOU GRACIAS ARIGATO Plastic Bag (2016). They were particularly interested in how the print can spark conversations about consumerism, the environment, and what art can be. A skillful trompe l’oeil, or work that fools the eye, DANKE MERCI THANK YOU… appears to be a plastic grocery bag. But upon closer study, the plastic quality associated with a grocery bag disappears—the texture of the paper and the irregularity of the printed text become evident and reveal the work’s nature as a handmade relief print. Throughout her career, Saban has explored the tension between what a work of art appears to be and what it actually is, a concept that is represented in Sheldon’s collection by examples such as Jasper John’s Bread (1969) and Marilyn Levine’s Leather Bag (1990). Working in the studio once occupied by the late conceptual artist John Baldessari, Saban investigates in recent work the interplay between technology and craft through a series of hand-woven tapestries that resemble computer chips. Analía Saban (born Buenos Aires, Argentina 1980) DANKE MERCI THANK YOU GRACIAS ARIGATO Plastic Bag Mixografia® print on handmade paper, 2016; 281/2 × 20 × 11/2 inches Sheldon Art Association and Sheldon Museum of Art, University of Nebraska–Lincoln, 2019–20 Sheldon Student Advisory Board acquisition purchased with funds from the Pace Woods Foundation and from the Robert E. Schweser and Fern Beardsley Schweser Acquisition Fund, through the University of Nebraska Foundation, U-6893.2020
Member Profile M. Colleen Jones
For as long as she can remember, Colleen Jones has had an interest in art. Growing up in Kansas City, Missouri, her favorite field trip in elementary school was to the Nelson-Atkins Museum of Art. Her curiosity was encouraged by her father, who had tremendous artistic skills, an ability to build anything, and a strong belief that he would have been an architect in another life. He always helped her with school projects that involved creativity and developed her love for art. In turn, as a professor of management at the University of Nebraska, Colleen incorporated art into her leadership and organizational behavior classes. With an MBA from the University of Southern California and a DBA from George Washington University in DC, Colleen created opportunities for her students to expand their own horizons. Rather than assign a final paper, she had her students summarize their most significant learning through creative projects. This could involve poetry, art, music, puzzles, construction—anything other than writing an essay. Students who were initially shocked by the assignment dove in head first, once they understood the intellectual freedom and serious fun it offered.
as others whose viewpoints are underrepresented in the art historical canon. Colleen became a member of the Sheldon Art Association to support visual art and has served as a trustee of the organization twice: 2006–07 and 2009–11. Like the final assignment for her management students, Colleen’s patronage of the arts at the University of Nebraska transcends art form. She is one of five members of the MOSAIC Circle, a group dedicated to funding a performance series at the Lied Center that offers global perspectives through music, dance, and theater. In addition to the many business students who have been taught by Colleen, there are hundreds of others—current students and alumni—who share the distinction and collective name of the Jones Scholars. They are members of a learning community that fosters leadership development, academic excellence, and service to others. Colleen is president of the Melvin W. Jones Foundation, established in 2002 in memory of her late husband, who was vice chancellor of business and finance at the University of Nebraska–Lincoln. In addition to the Jones Scholars, the foundation provides educational and personal development opportunities for deserving young people in Memphis and Atlanta, among other places.
Colleen considers the arts to be essential to our common humanity and open to all.
Colleen considers the arts to be essential to our common humanity and open to all. She sees visual art as a deeply rooted way of communicating: our first form of writing and a means to express profound emotions, ideas, and memories. She seeks out art that enables audience members to learn about one another and to gain insight to various cultures, eras, and places through the work of artists. When Sheldon exhibitions change, Colleen revels in seeing works that have been tucked away in the vaults for a long time; it gives her a feeling of renewal. Although she enjoys art by a limitless range of artists, Colleen particularly values opportunities to closely view and spend time with Sheldonheld works by Indigenous and African American artists, as well
Of the many Sheldon events Colleen has attended, she particularly remembers the impact of seeing Mexican culture represented at celebrations of el Día de los Muertos, Day of the Dead, featuring papel picado cutouts, mariachi music, and the opportunity to see so many community members enjoying a culture that may not have been their own. She also found the Naked Museum Gala, where the building was presented as art itself, to be very moving. She describes the moment she walked in as one in which the walls seemed to be talking to her. On an ongoing basis, she appreciates the beauty and peace of the sculpture garden.
Exhibition Spotlight Person of Interest Yasumasa Morimura
In this series of self-portraits, Japanese photographer Yasumasa Morimura transforms himself into seven notable actresses of the silver screen. He wears costumes from some of their most famous roles, including Greta Garbo in Anna Christie and Ninotchka, Ingrid Berman in Casablanca, Liza Minelli in Cabaret, Sylvia Kristel in Emmanuelle, Marilyn Monroe in Niagara, and Audrey Hepburn in Breakfast at Tiffany’s. By adopting the guises of these actresses, Moriumura not only questions the traditional boundaries of gender and nationality, but he also subverts the power dynamics that characterize cinema. Traditionally, these silver screen sirens have been used as sexual objects for the visual pleasure of their male audiences, a point of view that has been reinforced by the predominance of male directors, cinematographers, and studio executives. By positioning his male body in this way, Morimura thus disrupts this “male gaze,” a term coined by film critic Laura Mulvey to express the cinematic camera’s fetishization of the female body for spectators. These photographs are installed in the Sarah Pearson Campbell Gallery as part of Person of Interest, which uses portraiture to consider the complexities of identity. The exhibition is on view through July 3, 2021.
Yasumasa Morimura (born Osaka, Japan 1951) top row, left to right: Self Portrait—After Greta Garbo 1, Brigitte Bardot 1, Sylvia Kristel, Liza Minelli 1 bottom row, left to right: Self Portrait—After Ingrid Bergman, Greta Garbo 2, Marilyn Monroe, Audrey Hepburn 1 Gelatin silver print, 1996; 171/4 × 135/8 inches (each) On loan from Karen and Robert Duncan
Exhibition Previews A Benefit of Membership Sheldon Art Association membership provides exclusive access to new exhibitions at member preview receptions among many other benefits. Members have access to unique opportunities to learn more about the collection and exhibitions and to make connections with other art enthusiasts. To join, contact Laurel Ybarra at laurel.ybarra@unl.edu or visit sheldonartmuseum.org/join.
In Memoriam Ann Rawley
Ann Rawley seated before Helen Frankenthaler’s Red Frame, August, 2017.
Ann Rawley is greatly missed. She was a member and supporter of Sheldon for more than fifty years, serving most recently as an emeritus trustee of the board of the Sheldon Art Association. During her life and through her estate, Ann and her husband James gave forty-seven works of art to the museum. Most are prints, reflecting the couple’s interest in and knowledge of the medium.
These carefully selected works on paper have greatly enhanced Sheldon’s collection. They not only represent a wide range of techniques used by printmakers throughout history, but they also complement some of the most important artists’ works in our holdings. The Rawleys have given the museum some of its most significant prints: nearly half of the collection’s James McNeill Whistler etchings and lithographs, a rare 1836 engraving from John James Audubon’s “double-elephant folio” edition of Birds of America, and Rembrandt’s The Raising of Lazarus: The Larger Plate (circa 1632).
Ann’s impact on the collection can also be seen in the countless works of art she framed for the museum, after being encouraged to take up the craft by Sheldon director Norman Geske and completing several years of apprenticeship. Ann had a keen memory for the conversations she had with Norman Geske, discussing art and the importance of framing. One of the favorite frames she made was for Severin Roesen’s Still Life with Fruit and Champagne Glass, which she always loved to see on Sheldon’s walls. Both the Rawleys enjoyed their affiliation with the University of Nebraska, where James, an expert in the American Civil War, Transatlantic slave trade, and the life of Abraham Lincoln, was a professor of history and department chair. The endowed James A. Rawley Professorship in History and the annual James A. Rawley Graduate Conference in the Humanities honor his legacy and encourage scholarship. Additionally, the James A. Rawley Prize (OAH) is given in his memory by the Organization of American Historians for the best book on race relations, and the James A. Rawley Prize (AHA) is given in his memory by the American Historical Association for the best book in Atlantic history. The legacy of the Rawley art collection can be found in Sheldon’s online database at sheldonartmuseum.org/collection.
John James Audubon Reading, England 1793–Tarrytown, NY 1878 Least Stormy Petrel, plate CCCXL from The Birds of America Engraving with hand coloring and aquatint, 1836 34 × 41 inches Sheldon Museum of Art, Sheldon Art Association, gift of Ann K. and James A. Rawley, S-875.2012
Member Profile Rich Bailey Rich Bailey began attending the University of Nebraska–Lincoln, as an architecture student, during the construction of Sheldon. He and his peers were fascinated by its progress, observing daily changes as they walked by the site on their way to class. Prior to the its grand opening, architecture students were given the opportunity to see the interior of the museum and meet its architect, Philip Johnson. This is where Rich first developed his love for Sheldon and met Norman Geske, who soon became a good friend.
Edward Hopper (Nyack, NY 1882–New York, NY 1967) Room in New York Oil on canvas, 1932; 29 × 365/8 inches Sheldon Museum of Art, University of Nebraska–Lincoln, Anna R. and Frank M. Hall Charitable Trust, H-166.1936
His keen eye for composition, color, scale, and other elements of design fostered Rich’s interest in American modernist artwork in the museum’s collection.
Rich changed his major to advertising and, in 1970, cofounded Bailey Lauerman, a Nebraska-based marketing and advertising company. He developed a strong interest in design and was heavily focused on the creative process, working in the roles of art director and graphic designer for the firm. His keen eye for composition, color, scale, and other elements of design fostered Rich’s interest in American modernist artwork in the museum’s collection. He was particularly drawn to works, now considered Sheldon treasures, from the studios of Milton Avery, Marsden Hartley, Edward Hopper, Georgia O’Keeffe, and Mark Rothko among others. Rich’s all-time favorite painting is Edward Hopper’s Room in New York—a notable designation, as Rich has traveled to see large collections of the artist’s work in museums such as the Whitney Museum of American Art. Rich never tires of trying to speculate about Hopper’s motivations for each artwork. Through his friendship with Norman, Rich became a member of the Sheldon Art Association—then known as the Nebraska Art Association. Rich was invited to serve on the board soon after Norman retired in 1983, and he just completed a second set of terms as a board member this June. With opportunities to attend countless Sheldon events over the years, Rich has many fond memories. One he will never forget was a party in the Great Hall for Norman’s ninety-fifth birthday. Rich remembers it as a fitting celebration of Nebraska’s devotion to building a monumental art collection and of the man who led the effort.
Hans Hofmann (Weissenberg, Germany 1880–New York, NY 1966), The City Oil on canvas, 1958; 601/4 × 521/4 inches Sheldon Museum of Art, Nebraska Art Association, Thomas C. Woods Memorial, N-153.1 964
Art-historical tableaux for the digital age Tussen Kunst en Quarantaine (between art and quarantine), a social media challenge that has engaged global art audiences during the pandemic, began simply enough. While working from home, Amsterdam resident Anneloes Officier and her roommates starting replicating works of art with common household objects. Their art-historical tableaux for the digital age inspired legions of similarly homebound people to post their own recreations of works from museum collections around the globe. It will come as no surprise to Sheldon visitors and followers that Edward Hopper’s Room in New York is the museum’s most frequently recreated work.
Visit @SheldonMuseum on Instagram and Facebook to find additional recreations of works from our collection. And, look for catalysts for your own masterpieces among the 13,000 works in our online database at sheldonartmuseum.org/collection. #betweenartandquarantine
Donors September 2020
Annual Exhibition Sponsors Roseann and Philip L. Perry
Exhibition Sponsors Phyllis Acklie Kristen and Geoff Cline Karen and Robert Duncan Farmers Mutual Melanie and Jon Gross Lee and Debbie Stuart Foundation Union Bank & Trust Donna Woods and Jon Hinrichs
Donors Teresa Alexander Peter Allen Margaret Allington Rich Bailey Alexandra Ball Mary and J. Douglas Campbell Sally and Jack Campbell Mark Canney Emily Chen Linda and Gene Crump Carole Curry Janice and John Driesbach Michael Dunekacke Polly Feis Barbara and Alan H. Frank Marsha Gallagher Sandy and James Gallentine Anne Sheedy Gardner Ann Gradwohl Melanie and Jon Gross John Ground Vonda and Jeffrey Hartsell Dobey and Butch Haws Candy and Tom Henning Julie and Fred Hoppe Judy and Chris Hove Gloria Jensen Gregory Jensen Barbara and Bruce Johnson Jeff Johnson Jessica A. Kolterman Elizabeth and Scott Krause
Halley and Chad Kruse Marcia Laging-Cummings Kathy and Marc LeBaron Yvonne and Kam Ching Leung Karen R. Lusk Jan and Jerry Maddox Rachel McConnell Barbara McCuen Amy Moss-Russell Nia Nielsen Anna Nolan Victoria and Robert Northrup Jann Nyffeler Anne and Bud Pagel Roseann and Philip L. Perry Julie and Gale Pokorny Mary Rabenberg and Richard H. Allen Estate of Ann Rawley Laurie Richards and Dan Worth Carol and Roger Riefler Kim Robak and Bill Mueller Tracy Sanford and Matthew Wood Maggie and Matt Schaefer Theodore Seacrest Donna Shear Ann and Bud Sidles Jeff Siemers Roxanne Smith Ashley Smock Diane and Nick Steinke Jo Stewart Michele Tilley and Brad Wilson Laurel Van Ham and Thomas Pappas Sherry and William Wiese Deborah and Robert Wigton Susie and Rick Windle Jeannie Zaemes Amy and Mike Zeleny
Foundations AmazonSmile Foundation Dillon Foundation Donlan Foundation Larry and Maggie Kopsa Foundation Lannan Foundation Lincoln Community Foundation Pace Woods Foundation Peck Stacpoole Foundation
Government Support Humanities Nebraska and the National Endowment for the Humanities as part of the Coronavirus Aid, Relief and Economic Security (CARES) Act Nebraska Arts Council Nebraska Arts Council CARES Grant Nebraska Cultural Endowment Nebraska Department of Health and Human Services Community CARES Stabilization Grant
Memorials & Honorariums In Memory of Sarah Pearson Campbell Mary and J. Douglas Campbell In Honor of Kristen and Geoff Cline Jeannette and Josh Black In Honor of Ann Gradwohl Jill and Jeff Schroeder In Memory of Laura Greco Haack Diane Jelkin In Memory of Phil Heckman Karen and John Janovy, Jr. In Honor of Kathy and Marc LeBaron Teresa and Chris Raun In Memory of Helen Mikasen Ann Gradwohl Phyllis and Verne Jacobson In Memory of Ann Rawley David Clark and Jay Conrad In Honor of Laura Reznicek Jennifer Cantrell and Jason Meyer In Memory of Nancy Smith Karen and John Janovy, Jr. Heather and Will Thomas
Art Donors Roseann and Philip L. Perry Estate of Ann Rawley
When you join the Sheldon Art Association, you support educational curricula, student engagement, and statewide outreach programs. You also help keep Sheldon accessible to all with free admission. Join online at sheldonartmuseum.org/join or contact Laurel Ybarra at 402.472.1454 or laurel.ybarra@unl.edu to support Sheldon and receive membership benefits today.
Sheldon Art Association Members September 2020
Sheldon Circle Rhonda Seacrest
Trustee Circle Ann Rawley
Director Circle Barbara and Dan Howard
Annie and Eric Crimmins
Cherie Bayley
Karen and Chuck Harris
Randy and John Daubert
Linda and Ken Benton
Jan Gradwohl
Linda Hillegass and James McKee
Joyce and Jim Holtmeier
Patty Pansing Brooks and Loel Brooks
Susan and John Hoppe
Linda Burchard
Vicki and Richard Hoffmann
Julie and Mike Jacobson
Mary and J. Douglas Campbell
Jane Johnson
Karen and John Janovy, Jr.
Luann and Rich Finke
Cuz and Kile Johnson
Jean Jeffrey
Lilyan Fulginiti and Richard Perrin
Linda and Lynn Jones
Carol Gendler
Robert Hillestad
Audrey and Richard Kauders
Kathryn and Marc LeBaron
Victoria Kovar-Grasso and Dan Grasso
Roseann and Phillip L. Perry
Susan Kuck
Nancy and Tom Heiser
Sarah Kelen and Kenneth Bloom
Erica Peterson and Bart Dillashaw
Judith and Wally Mason
Midge Irvin
Dianne Kennedy
Ruth and Martin Massengale
Jeff Johnson
Virginia Knoll
Susan and Harvey Perlman
Jan and Jim Kenner, Jr.
Jessica A. Kolterman
Harriet and Tom Potter
Lisa and Buck Kiechel
Liz and Ken Koop Janet Krendel
Steve Wake
Tracy Sanford and Matthew Wood
Karen and Jim Linder Barbara McCuen
Jane and Sushil Lacy
Birgit Young
Patty and Earl Scudder
Carren and Tice Miller
Danny and Margaret Ladely
Collector Circle
Nana G. H. Smith and James B. Milliken
Laurie Richards and Dan Worth
Vicki R. Langdon
Kim Robak and Bill Mueller
Meg and Jim Lauerman
Phyllis Acklie
Carol and Art Thompson
Bonnie Spomer
Pat Leach
Brenda and John Badami
Erin and Andrew Willis
Cynthia and Henry Woods
Lisa Lorraine and Peter Worth
Rich Bailey
Bonnie K. Zetterman
Bonnie and Richard Quinn Annette and Paul Smith Nancy and Dennis Stara
Contributor Members
Amy and Brian Baxter Jason Bombeck
Benefactor Members
Jennifer and Brian Cintani
Denise and Tyler Mainquist Lynn Marcus and Pat Aylward
Bev Austin and Donald Spinar
Deb Miller and Jim Potter
Lynne Boyer
Venita and Robert Mittelstaedt
David Clark and Jay Conrad
Margaret Bartle and Terry Wittler
Ann Brase
Marilyn and Dave Moore
Kristen and Geoffrey Cline
Janet and Carl Eskridge
Lana and Bob Browne
Ann and David Myers
Karen and Robert Duncan
Larry Frederick
Kathy Carlisle
Mo Neal
Melanie and Jon Gross
Sally and Wil Hergenrader
Amy and Mark Cederdahl
Gail and Jim O’Hanlon
Candy and Tom Henning
Peggy and Eli Chesen
Lorraine Pallesen
Nelle and John-Paul Jamison
Kathy Leeper and Scott Rasmussen
Joan and David Pauley
Mary and Robert Nefsky
Cindy and William Morris
Jessica Coope and Stephen Hilliard
Martha and Wally Richardson
Sue Quambusch and Len Sloup
Lisa and Richard DeBuse
Jennifer Shaw and Brennen Miller
Katherine Starace
Susan and Stephen Dinsmore
Eileen Rock and Thomas Stalder
Allison Whiting
Rosemary and Art Dobson
Judy and Larry Roots
Debbie and Lee Stuart
Sue and Larry Wood
Sinda Dux
Alex and Michael Roth
Sue and Tom Tallman
Steven Zick
Martha and John Eischeid
Judith and Joseph Ruffo
Shawn and Doug Farrar
Kim Russel and Dirk Brom
Lana and Lon Flagtwet
Karen and Rich Vierk
Anne and Robert Diffendal, Jr.
Laura Reznicek and Patrick Adams
Steve Wake
Patron Members
Nancy and John Wiederspan
Sue and Dan Anderson
Dale Gibbs
Kathleen Rutledge and Ted Kooser
Donna Woods and Jon Hinrichs
Matt Ashmore
Ann Gradwohl
Jill and Jeff Schroeder
Susan and Deon Bahr
Marynelle Greene
Julie Seever
Pam Baker
Patricia and Bob Grimit
Susan and Robert Simon
Barbara and Bob Bartle
Nancy and Andy Hadenfeldt
Pamela and Marcus Snow
Laura and Michael Baumgartner
Nancy and John Haessler
Daniel Tannenbaum
Christy and Richard Hargesheimer
Stephen Tannenbaum
Curator Circle Marcia Bergmeyer JoAnne and Bob Bettenhausen
Jo and David Baxter
DeLoris Tonack
Kristin Walstad
Alice Henneman and Dave Palm
Suanne and Jim Stange
Karen and John Janovy, Jr.
Liz and Craig Wanamaker
Sara Stephenson
Jean Jeffrey
Beverly Westerberg
Kathy Herbers
Jo Stewart
Susan Johnson
Anne Whitney
Marjorie and Jim Hewitt
Paula and Peter Stone
Jan and Jim Kenner, Jr.
Susie and Rick Windle
Rosemarie Holz and Eric Buhs
Mary Ann Sullivan
Kim and Patrick Kenney
Suzanne and Charles Wright
Sarah and Aaron Holz
Vivian and Fred Kiechel
Clinton Wright
Martha Horvay
Carol Swigart and Shane Kirchoff
Ron Hull
Thomas Thalken
Myrna and Bill Kubly
Members
Michael F. James
Jon and Julie Thomas
Chip Lienemann
Nancy Aden
Gloria Jensen
Morrie Tuttle
Dan Lienemann
Teresa Alexander
Gregory Jensen
Pat and Bill Lundak
Dorothy C. Anderson
Barbara and Con Keating
Laurel Van Ham and Thomas Pappas
Mary Barton
Ruth Keene
Michelle Waite
Kay and Jeffrey MacDonald
JoAnne and Neil Bateman
JoAnne Kissel
Janice Walker and Don Alvord
Mij and Tom Laging
Lisa and Mark Warren
Ruth and Martin Massengale
Margaret Berry Patty Beutler
Marcia Laging-Cummings
George Wolf
Patricia Birch and Roger Bruhn
Carrie Lamphere
Judy and Norman Zlotsky
Jo Brown
Sandra Langemeier
Christine and Art Zygielbaum
Mary and Roger Bruning
Quinn and William Lawton
Sally and Roger Buchholz
Betty Levitov
Life Members
Lynn and Robert Callahan
Kaki and Dave Ley
Phyllis Acklie
Brick Paulson
Bridget Cannon
Kay Logan-Peters and Randy Peters
Jane Allman
Allison and Gary Petersen
Sue and Dan Anderson
Dorothy Pflug
Patricia Lontor
Karen and David Asche
Julie and Gale Pokorny
Thomas Carr Jr.
Christin Mamiya
Joe Badami
Vineta Rehm
Lois and Dick Dam
Jane Marie and Dick Hansen
Rich Bailey
Martha and Wally Richardson
Judith DeGraff
Ann Martin
Betty Lou and Tom Ball
Jane Rohman
Sara and Steve DeLair
Arlen Meyer
Marilyn Balliet
Lois and Ron Roskens
Jean Detlefsen and Don Roth
Samuel and Patricia Boon
Kit and Gerry Dimon
Marjorie Mikasen and Mark Griep
Marita and Chuck Burmeister
Barbara and Gerald Rounsborg
Pam and Dan Doty
Rosemary and Michael Molvar
Judith and Robert Burton
Carol Rustad
Dorene Eisentrager
Carrie Morgan
Sally and Jack Campbell
Denise and Dan Scholz
Stuart and Lynn Embury
Roberta Munske
Rosalind and James Carr
June and Paul Schorr III
William Etmund
Mo Neal
Jan Christensen
Rhonda Seacrest
Cynthia and Tom Fitchett
Lee and Patrick Nespor
Janet Coleman
Jean Shaw
Laura Franz
Peg and Larry Pelter
Nancy Dawson
Ann and Bud Sidles
Margaret Fuller
Karen and Jon Peppmuller
Marg and Ken Donlan
Katherine Starace
Mike Gloor
Donna Posvar
Rose Ann and Dawson Dowty
Margaret and Gregory Sutton
Nancy Goff and Edson Rumbaugh
Sally and Lou Roper
Connie and Todd Duncan
Sue and Tom Tallman
Sandy Rowson
Marilyn Forke
Carol and Art Thompson
Suzanne Graham
Cecilia Ruley
Linda and Tom Gapp
Karen and Rich Vierk
Priscilla and Sandy Grossbart
Maggie and Matt Schaefer
Elinor Greenfield
Patricia Polite Wade
Abby and Justin Groth
Gordon Scholz
Sharon and Bill Griffin
Lisa and Don Walla
John Ground
Tracy and Will Scott
Diane and David de Harter
JoAnn and Arthur Weaver
Sue Guild
Susie Severson
Barb Heckman
Paul Harrison
Dottie Shapiro
Candy and Tom Henning
Donna Woods and Jon Hinrichs
Eola and Ned Hedges
Natalie Smith and Jon Yates
Midge Irvin
Avery Woods
Jean Henderson
Roxanne Smith
Stacey James and Bob Ripley
Mary and Dale Young
Jennifer Cantrell and Jason Meyer
Joan and David Kiple
Karen R. Lusk
Carren and Tice Miller Mary and Robert Nefsky Victoria and Robert Northrup Bill Nye Anne and Bud Pagel Phyllis Pauley
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