UIMA Magazine Fall 2015

UIMA University of Iowa Museum of Art

Fall 2015

u i m a . u i o wa . e d u

1

6

14

26

28

4 Fall 2015 Calendar of Events

18 Lectures

5 From the Director

23 UIMA@IMU Visual Classroom

6 Fall 2015 Exhibition

24 Education

10 Conservation of the Collection

26 Education: New to the Collections

12 Legacies for Iowa

28 Museum Party

14 Venice Opening

31 From the University of Iowa Foundation

16 Meet the Architect

Editor: Elizabeth M. Wallace Copy editor: Gail Zlatnik Design: Scott Christian Hage Copyright © 2015 Cover: Keith Anden Achepohl Capriccios I–XII, 1995 Watercolor 17 1/4 x 13 1/4 in.

Gift of Randall Hamilton and Bruce Hughes, 1999.174D

The story behind the headlines. Not just “what,” but “why.”

An intriguing character from around the world or around the corner.

New music, or music that is new to you. The lighter side of today’s news.

Discover your world.

2 U I MA IPR’s News & Studio One 90.9 FM | IOWAPUBLICRADIO.ORG

temporary offices

STUDIO ARTS BUILDING

uima.uiowa.edu

1375 Highway 1 West/1840 SA Iowa City, IA 52242-1789 319-335-1727

temporary locations

IOWA MEMORIAL UNION uima@imu visual classroom black box theater

125 North Madison St. Iowa City, IA 52242 319-335-1742 Free admission Hours: Tuesday, Wednesday, and Friday, 10 a.m.–5 p.m.

Thursday, 10 a.m.–9 p.m.

Saturday and Sunday, 12–5 p.m.

FIGGE ART MUSEUM 225 West Second St. Davenport, IA 52801 563-326-7804

Free admission for University of Iowa students, faculty, and staff with UI ID cards, and UIMA members with membership cards.

Hours: Tuesday–Saturday 10 a.m.–5 p.m.

Thursday, 10 a.m.–9 p.m.

Sunday 12 p.m.–5 p.m.

BECOME A MEMBER TODAY STAND BY YOUR MUSEUM!

MEMBE RSHIP MEMB ERSH IP CARD CARD

JOIN ONLINE

uima.uiowa.edu

u i m a . u i o wa . e d u

3

FALL 2015 CALENDAR

EXHIBITIONS July 4– October 18

Exploring the Demimonde: Sin and Temptation at the Fin-de-Siècle, Legacies for Iowa Collections Sharing Project

Figge Art Museum

September 12– December 13

Caprice and Influence

Black Box Theater 3rd floor, Iowa Memorial Union

October 31, 2015– October 30, 2016

Clay: Traditions in Shards, Legacies for Iowa Collections Sharing Project

Figge Art Museum

Ongoing

UIMA@IMU Visual Classroom

3rd floor, Iowa Memorial Union

PUBLIC PROGRAMS September 4 5:00–7:00 p.m.

FIRST FRIDAY

FilmScene 118 E. College St., Iowa City

September 17 7:30–8:30 p.m.

EXHIBITION LECTURE Eighty Years a Nomad: Saddle Bags Loaded,

by Keith Achepohl

116 Art Building West

September 24 7:30–8:30 p.m.

EXHIBITION LECTURE Goya's Imagined Reality,

by Stephanie Loeb Stepanek

116 Art Building West

September 24 7:00–8:00 p.m.

Gallery Tour of Exploring the Demimonde: Sin and Temptation at the Fin-de-Siècle,

by Dr. Alice M. Phillips

Figge Art Museum

October 2 5:00–7:00 p.m.

FIRST FRIDAY

FilmScene 118 E. College St., Iowa City

October 7 7:30–8:30 p.m.

Jeanne and Richard Levitt Lectureship: American Crafts in Context, The Ever-Changing Cultural Landscape of KhaPo Owingeh—Santa Clara Pueblo, NM, by Jason Garcia

116 Art Building West

October 20 7:30–8:30 p.m.

SMART TALKS US vs Art Thieves: True Tales from the FBI's Real Indiana Jones, by Robert K. Wittman

240 Art Building West

November 5 7:30–8:30 p.m.

EXHIBITION LECTURE: Capricious Corpses: Death, Destruction, and Disaster in Goya's Works, by Karissa Bushman

116 Art Building West

November 6 5:00–7:00 p.m.

FIRST FRIDAY

FilmScene 118 E. College St., Iowa City

December 4 5:00–7:00 p.m.

FIRST FRIDAY

FilmScene 118 E. College St., Iowa City

MEMBER EVENTS October 29

4

U I MA

Director's Circle Reception

FROM THE DIRECTOR

From the Director Dear Museum Supporter, Greetings in a new academic year that promises a fresh new phase for the UIMA. In another of President Kennedy’s spectacular public linguistic malentendus, he stated that the Chinese expression for “crisis” consisted of the characters “danger” and “opportunity.” However incorrect his understanding of Chinese writing, the sentiment is definitely true in the UIMA’s situation. Though what the museum and its audience have endured over the past several years would have killed off less-robust institutions and less-loyal supporters, the 2008 flood gave the UIMA an opportunity to create a new museum that answers the twenty-firstcentury needs of students, researchers, and visitors: galleries and other spaces where people can connect with artwork in settings that allow for intimate, prolonged experiences (in fact, I am referring to a model that is similar to what museums used to be). Amazingly, this is not the case with many institutions nowadays (even the new ones!), where the norm is conveyor-belt, factory-like viewing of art in super-sized warehouses—not what I would describe as either welcoming or personal. Environments that encourage sophisticated looking, experiencing, learning, and enjoying require comfortable, relaxed spaces that also allow for other activities, such as reading books, talking with friends, looking things up on smartphones, or just zoning out—all taking place in rooms with great art!

LATE-BREAKING NEWS! The UIMA is pleased to announce that Francisco de Goya’s full-length portrait of Don Manuel García de la Prada will be on loan this semester from the Des Moines Art Center. The large, full-color painting of this gentleman, which complements the UI’s focus on Spanish culture during the fall semester, will be on display in the UIMA@IMU Visual Classroom. Don’t miss this exciting opportunity to view one of the few Goya portrait paintings in the United States.

Francisco José de Goya y Lucientes (Spanish, 1746–1838) Don Manuel García de la Prada, ca. 1810 Oil on canvas, overall: 81 1/2 x 49 in.

Purchased with funds from the Coffin Fine Arts Trust; Nathan Emory Coffin Collection of the Des Moines Art Center, 1953.15

We need to design spaces that offer the chance to learn deliberately, as well as accidentally and serendipitously.

Good teachers know that the secret to effective learning and deep understanding is repetition over an extended period of time, and we need to give people reasons to visit the museum every day, every lunchtime, every weekend. If we build the most appealing and attractive spaces, people will come. Using the vernacular for action and engagement, we want people to “occupy” the new museum—literally.

With our inviting galleries and classrooms, the new museum slogan can be “OCCUPY THE UIMA!” Thank you for your support, and I look forward to seeing you soon at a UIMA event.

Sean O’Harrow, PhD Director

Photo by Rich Sanders, Des Moines

u i m a . u i o wa . e d u

5

FALL EXHIBITIONN

CAP R I CE AND INFLUENC E September 12–December 13, 2015 Black Box Theater, Iowa Memorial Union

Giovanni Battista Piranesi (Italian, 1720–1778) Le Antichità Romane (Roman Antiquities), Volume II, 1756, printed in 1784 Period bound volume of etchings 16 5/8 x 12 1/2 in.

Gift of Owen and Leone Elliott, 1969.346B

In the early to mid eighteenth century, the Italian artists Giovanni Tiepolo of Venice and Giovanni Piranesi of Rome created some of the most intriguing and enigmatic prints of the era. Sixty years later in Spain, Francisco de Goya produced the renowned sequence of eighty prints he called caprichos enfáticos (“emphatic caprices”). These strange and highly original works have influenced many artists in their wake. This exhibition explores “caprice” as a genre, and features the museum’s rare editions of Tiepolo’s

6

U I MA

Vari Capricci, Piranesi’s Le Antichità Romane, and Goya’s Los Caprichos and Los Desastres de la Guerra. Alongside these masterworks are watercolors and prints—by present-day artists Keith Achepohl and Enrique Chagoya—that are characterized by adaptations of the resonant characteristics of caprice as practiced by the earlier Italian and Spanish artists.

For Italians of the time, capricci meant architectural inventions that placed together buildings and archaeological ruins and artifacts, often with figures in fictional, even fantastical, narrative combinations.

Tiepolo appears to have been one of the first artists to label as caprices his sketchy creations, although the genre had been developed earlier by another Italian,

FALL EXHIBITION

Marco Ricci. After meeting and perhaps working for a short time with Tiepolo, the younger Piranesi completed the four etchings of his "Grotteschi" series (The Triumphal Arch in the exhibition is a promised gift), thought to recall Tiepolo’s use of caprice as a genre. Just seven years later, in 1756, Piranesi published his imaginative masterwork Le Antichità Romane, a four-volume series dedicated to archeological discovery and antiquarian study of ancient Rome.

Francisco de Goya y Lucientes (Spanish, 1746–1828) Gatesca pantomime (Feline pantomine), plate 73 from Los Desastres de la Guerra (The Disasters of War), 1863 Etching and aquatint 9 1/2 x 13 1/8 in.

Gift of Owen and Leone Elliott, 1976.42BU

The art of Italy is an enduring muse for University of Iowa Professor Emeritus of Art Keith A. Achepohl.

Each of the one hundred watercolors of his Capriccios, 1995, is an exploration of architecture and light inspired by the Mediterranean region. Real and imagined journeys are both literally and figuratively reflected via water, mirrors, and history, as Achepohl’s work acknowledges debts to Tiepolo and Piranesi.

Goya’s Los Caprichos and Los Desastres de la Guerra are far from the Italian spirit of light-hearted whimsy usually suggested by the term capricci. Although they often take Tiepolo's triangular figurative format, Goya’s prints are progressions of savage, albeit veiled, satires. With a baroque sensibility, Goya presents reminders of the human condition

u i m a . u i o wa . e d u

7

FALL EXHIBITION

and its limits through vertiginous and often abstruse excesses. As one scholar noted, “Vagueness was a virtue particularly when the Inquisition was breathing down your neck.”

Giovanni Battista Tiepolo (Italian, 1696–1770) Una ninfa con un piccolo satiro e due capre (A nymph with a small satyr and two goats), plate 5 from Vari Capricci, 1741–1742 Etching 5 5/8 x 7 in.

Gift of Dr. and Mrs. J.L. Ehrenhaft, 1986.56E

Contemporary artist Enrique Chagoya’s riffs on Goya’s prints demonstrate the relevance of Spain’s social, cultural, and political caprices to our own times. Chagoya’s prints reintroduce Goya’s images, as they clearly identify comparable problematic issues in contemporary America, such as his use of the elephant and donkey to represent acrimony in the two-party political system, and the insertion of Mickey Mouse as an allusion to a corrupt media industry.

the great artists Tiepolo, Piranesi, and Goya remains a strong communicative tool for artists today.

Whether ideological or critical, real or fantastical, particular or universal, caprice as a genre exploited by

8

U I MA

Caprice and Influence includes the conservation and digitization of Le Antichità Romane and Los Desastres de la Guerra (gifts from Owen and Leone Elliott) by the Preservation and Conservation Department, University of Iowa Libraries. The exhibition is curated

by Senior Curator Kathleen A. Edwards. Generous loans to the exhibition are provided by Keith Achepohl, Mary Jo Arnoldi and Craig Subler, and the Burling Library at Grinnell College.

FALL EXHIBITION

Enrique Chagoya (American, born in Mexico, 1953– ) Tu que no puedes / Thou who canst not, 2012 Intaglio with letterpress in 2 colors, Edition 18 14 5/8 x 11 1/16 in.

Published by Universal Limited Art Editions © Enrique Chagoya/ Universal Limited Art Editions On loan from Craig Subler and Mary Jo Arnoldi

Funding for the exhibition was provided in part by the Richard V. M. Corton, MD, and Janet Y. Corton Exhibition Fund; the John S. and Patricia C. Koza Art Exhibition Fund; Ruth Ann and John L. Bentler; Alan F. and Ann B. January; Ruth Brooks Muir; Carrie Z. Norton; Charles J. Krogmeier and Nancy J. Richardson; Richard H. and Mary Jo Stanley; and W. Richard and Joyce P. Summerwill.

u i m a . u i o wa . e d u

9

CONSERVATION

To Conserve and Protect

The exhibition Caprice and Influence includes two of the four bound volumes of prints by the eighteenthcentury artist Giovanni Battista Piranesi in the UIMA collection. These two were in need of conservation and stabilization before they could be displayed, as they had been exposed to handling, water, mold, and insect damage before coming to us. UIMA Registrarial Assistant Sarah Luko undertook their repair under the guidance of the head conservator for the UI Libraries, Giselle Simon. Sarah has been working for the UIMA and in the libraries’ conservation lab for over two years and, when this opportunity arose, she took

10 U I MA

on the project as part of her UIMA responsibilities.

The main goals of this conservation were to restore functionality and accessibility to the volumes for display and for UI coursework and research, and to prepare them for digitization.

Piranesi’s Le Antichità Romane de’ tempo della prima Repubblica e dei primi imperatori (Roman Antiquities of the Time of the First Republic and the First Emperors) consists of a series of engravings created by Piranesi in 1756. These prints were later bound with dyed parchment and paste paper into a

CONSERVATION

series of albums: Each print was affixed to a stub, or strip of paper; the stubs were then sewn together to create an album without sewing through the prints themselves.

Understanding the binding structure of the volumes and the nature and action of their component materials is where the conservation began. Among other issues, the stubs had often become detached or had created weaknesses in the print at the point of attachment.

The margins of each page were cleaned to remove surface debris, and paper tears were mended. A “conservation pen”—an ultrasonic humidifier—was used to relax unintended creases or folds. Finally, the remainders of previous conservation treatments, found throughout the volumes, were noted and amended where necessary.

Book and paper conservation endeavors to improve an object without drawing attention to itself. The object should still seem organic, and the treatments should be in sympathy with its history and future.

The work requires hand skills, an understanding of materials and structure, and a good deal of patience.

Sarah Luko’s efforts with the Piranesi volumes lessened distractions to viewers as well as reduced the damage from time and handling—the structural failings of the binding, the tears, and other insults to the pages and binding. Most visitors will never notice any of her behind-the-scenes work.

The UIMA is fortunate to have our four Piranesi volumes, which have already endured for over two hundred years. With their recent conservation treatment they are well on their way to another two hundred.

Sarah has assisted in the UIMA registrar’s department with the database, collection care, and management.

She is an MFA student at the University of Iowa Center for the Book and a graduate of the UI School of Library and Information Science, with a certificate from the Center for the Book. You may have already seen Sarah’s work on the UIMA’s other two Piranesi volumes, included in the 2015 spring exhibition, From the Grand Tour to American Pop: Learning with the Alden Lowell Doud Collection.

Conservation and digitization of Le Antichità Romane was funded with a donation from Alan F. and Ann B. January

u i m a . u i o wa . e d u 11

LEGACIES FOR IOWA

Exploring the Demimonde: Sin and Temptation at the fin-de-siècle Exhibition curated by Alice M. Phillips, PhD

July 4, 2015–October 18, 2015 Figge Art Museum 225 West Second Street Davenport, IA

Henri de Toulouse-Lautrec (French, 1864–1901) Divan Japonais (Japanese Sofa), 1893 Lithographic poster 32 x 24 1/2 in.

Gift of Gaston de Havenon, 1971.217

Various creative and psychological movements originated in late nineteenth-century Paris, where artists and writers became disenchanted with their materialistic society and by naturalism’s attention to the physical world. With this shift came a newfound interest in Symbolism, which originally began as a French literary movement in the 1880s. In art, the rise of Symbolism enabled artists to depict emotions and personal symbols found within dreams, religion, and ancient mythology. Their efforts resulted in enigmatic compositions that created connections between the literary and the visual arts. In the 1890s, Art Nouveau artists also challenged the French academic style with innovative design aesthetics and observations of daily life at spirited venues such as cafés, dance halls, and theatres.

This exhibition invites you to immerse yourself in the decadent world of fin-de-siècle France and to discover the demimonde of Parisian night life, cabarets, and café culture in this grouping of European paintings and prints.

This exhibition is organized by Legacies for Iowa, a UIMA Collections Sharing Project Supported by the Matthew Bucksbaum Family.

1 2 U I MA

LEGACIES FOR IOWA

Clay: Traditions in Shards Exhibition curated by Dale Fisher, MFA Curator of Education, UIMA

October 31, 2015–October 30, 2016 Figge Art Museum 225 West Second Street Davenport, IA

Bill Stewart (American, 1941– ) Duck Tank, 1976 Ceramic 20 1/2 x 11 x 29 1/4 in.

Gift of The Friends of the Museum, 1978.34

In the past millennium, the historical debate over the distinction between art and craft in clay has transformed from an accepted assignment based on social hierarchies to a self-conscious art-world struggle. As seen with the last few generations, artists working in clay have shattered traditional roles by refusing to accept that making functional work sealed your status as a potter or craftsman. By willingly accepting the challenge of making works that exert the same aesthetic agendas of painting and sculpture, two of the most traditional art forms, the line of demarcation between longstanding oppositional categories has never been so uncertain or more irrelevant.

This exhibition is organized by Legacies for Iowa, a UIMA Collections Sharing Project Supported by the Matthew Bucksbaum Family and the UIMA’s Education Department.

u i m a . u i o wa . e d u 13

VENICE OPENING

V

Photo by John Moyers

ENICE

OPENING

Photo by John Moyers

14 U I MA

In late April, a group of twenty–eight UIMA members traveled to Venice, Italy for the international debut of Jackson Pollock’s "newly restored" Mural. In addition to experiencing the cultural riches and romance of Venice, the group attended the exclusive VIP opening of Jackson Pollock’s Mural: Energy Made Visible at the Peggy Guggenheim Collection.

This international exhibition was organized by the UIMA in conjunction with the Venice Art Biennale, and will remain on view through mid-November.

After its sojourn in Italy, Mural and the exhibition will travel to Berlin, Germany, and Malaga, Spain, continuing to promote American culture and the University of Iowa’s artistic legacy.

VENICE OPENING

Photo by Francesca Bottazzin

Photo by John Moyers

Photo by John Moyers

Photo by John Moyers

u i m a . u i o wa . e d u 15

MEET THE ARCHITECT

MEET ROD KRUSE— ARCHITECT FOR THE NEW UI MUSEUM OF ART Which of your past projects are your favorites, and why?

My reflection on completed work—and successful work by others—centers on learning from them as a basis to continue to develop ideas. The Newton Road Parking Structure and Chilled Water Facility on the UI campus is an early example of my interest in using scrims and structure as expressive elements. The glass and metal scrims on this project elevate the presence and urban contribution of a simple parking structure, enveloping it in a manner that reduces the massive presence typical of such structures, while the thin concrete floor plates do not conceal its purpose. The building is a study of how light and views can be shaped by the translucency, placement, detail, and articulation of materials.

This exploration has served as the basis for other work. In the building for the Iowa Utilities Board and Office of Consumer Advocate in Des Moines, the structure, scrims, and light create an energy-efficient facility that consumes far less energy than the national average for office facilities. The materiality of a simple, cost-effective precast-concrete wall system is elevated by light-harvesting scrims that provide texture, light, shadow, contrast, and complexity to the basic mass.

How would you describe your signature style?

Photo by BNIM

During thirty-six years in the field of architecture, Rod Kruse has become a recognized design talent, advancing his profession as a mentor of strong design leaders, a client advocate, and a national advisor on design excellence.

He has redefined architecture as the unity of design and sustainability. His body of work includes projects for both private and public clients, and more than 120 projects and studies on fourteen campuses.

Among Kruse’s many awards are National AIA Awards for Design Excellence for Architecture for projects on the UI campus and in Des Moines. The American Institute of Architects named him a Fellow in 1996.

16 U I MA

I believe that great design is grounded in approach and process, not a signature style. Architecture that stands the test of time is based on strong concepts that serve as the foundation for addressing design decisions from inception to occupancy. This requires a process, which in my mind includes three principles: rigor, restraint, and resolve—rigor to generate and develop an idea; restraint to ensure the concept is not diluted by unnecessary additions and complications; and resolve to remain true to the concept. Adhering to these principles requires leadership and commitment by the design team, owners, users, and contractors.

It is impossible for me to conceive of successful and recognized speech, poetry, music, art, theatre, film, or any other form of creative expression, that does not express “white space”— the experience that is unexpected and gives one pause. It is an experience of which you may not be conscious, but in

MEET THE ARCHITECT

© Photo Courtesy of Assassi | Newton Road Parking Facility This project was designed by or under the direction of Rod Kruse FAIA while a Principal at Herbert Lewis Kruse and Blunck Architecture.

The Architect of Record for the project is Herbert Lewis Kruse and Blunck Architecture and it is not the work of BNIM.

© Assassi | Iowa Utilities Building and Office of Consumer Advocate

architecture it is the place “between,” the moment of an unexpected experience, or an unconscious awareness of your surroundings. It might be light; it may be darkness. It might be reality—or illusion. It might be silence—or sound.

White space is the connective tissue of place, meaning, and discovery made experiential.

a character, experience, and environment that supports the sharing of the collection.

How will you approach the unique challenges of the new UIMA? Unique challenges are unique opportunities. The UIMA is an opportunity to create an accessible museum experience in an urban environment. In the history of architecture and urban fabric, museums have been prominent structures and cultural assets. A museum should be readily recognized as a cultural institution that meets the street and is open, welcoming, and rich in interest. It should create an environment that encourages and enables patrons to visit often, stay for extended periods, and experience art in a personal manner.

It should exemplify the quality of its collection and present

Light is a crucial design aspect for the UIMA, as it is to the human experience and the creation and making of art.

Light, lack of light, or the illusion of light is crucial to the interpretation of art. However, light can also be damaging.

Finding a balance that respects all of these aspects is critical to the success of this building.

What is your ultimate goal when it comes to your work?

For what (or how) do you want to be remembered?

I am motivated to create work that serves its purpose well, but, more important to me, inspires. I believe in integrity, and I am constantly striving for creative architectural excellence. I will be happy if I can be remembered for my character as well as my body of work. I hope others will view me as someone who found “white space” in all aspects of life, and valued rigor, restraint, and resolve as means to achieve excellence.

u i m a . u i o wa . e d u 17

LECTURES

EXHIBITION LECTURE

Eighty Years a Nomad Saddle Bags Loaded

KEITH ACHEPOHL

Artists build their own protective gardens to inhabit.

I like to leap the fence occasionally to discover what is outside my boundaries, to bring back ideas and plant new seeds for new growth. Planting, traveling, collecting, cooking, loving family and friends, making love—all in their own proportion make life the glorious pilgrimage it is.

September 17 7:30–8:30 p.m.

116 Art Building West Since graduating from Iowa in 1960, Keith Achepohl has shown his work in more than two hundred juried exhibitions in the U.S. and abroad, and it is in the permanent collections of more than eighty institutions, including the Whitney Museum of American Art, National Gallery of Art in Washington, DC, Art Institute of Chicago, Seattle Art Museum, Portland Art Museum, Los Angeles County Museum of Art, the New York and Philadelphia public libraries, the art museum in Kobe, Japan, and the Biblioteca Nacional de España, Madrid.

Achepohl has received over thirty awards, including Fulbright grants to Turkey and Egypt, a Louis Comfort Tiffany Foundation grant, a Richard Florsheim Art Fund award, and U.S.I.A. grants for lecturing in Germany, Turkey, Italy, and Egypt. Most recently he received a Morris Graves Foundation residency.

For almost twenty-five years, Achepohl has worked in Venice, Italy, for part of each summer. He lives in Eugene, Oregon.

Bags still packed.

Keith Achepohl's work is featured on the cover of this issue.

18 U I MA

LECTURES

EXHIBITION LECTURE

Goya's Imagined Reality

STEPHANIE LOEB STEPANEK

Keenly aware of the power of time to illuminate and destroy, Goya sought unprecedented ways to capture for posterity the human condition, both as he observed it and as his creative imagination transformed it. His innovative mastery of varied techniques and media gave him exceptional freedom to express the complexities and contradictions of the world around him. This talk will examine a selection of paintings, prints, and drawings to reveal some of the ways Goya described a world that is both new and familiar.

September 24 7:30–8:30 p.m.

116 Art Building West Stephanie Loeb Stepanek is curator emerita at the Museum of Fine Arts (MFA), Boston, with which she has been associated since her graduation from Wheaton College, Norton, MA. She is co-curator of the MFA exhibition Goya: Order and Disorder (October 12, 2014–January 19, 2015) and was the coauthor of The Prints of Lucas van Leyden and His Contemporaries (1983), accompanying an exhibition held at the MFA and the National Gallery of Art. Stepanek worked closely with the noted Goya scholar

and former MFA curator of prints and drawings Eleanor Sayre on the exhibitions The Changing Image: Prints by Francisco Goya, 1974, and Goya and the Spirit of Enlightenment, 1989, coauthoring the catalogue. Stepanek has worked on numerous other exhibitions at the MFA, including Albrecht Dürer, Master Printmaker (1971), Winslow Homer (1977), The Pleasures of Paris (1991), and French Prints from the Age of the Musketeers (1998).

u i m a . u i o wa . e d u 19

LECTURES

JEANNE AND RICHARD LEVITT LECTURESHIP: AMERICAN CRAFTS IN CONTEXT

JASON GARCIA

The Ever–C­­hanging Cultural Landscape of KhaPo Owingeh— Santa Clara Pueblo, NM My ceramic work documents the ever-changing cultural landscape of my home of Santa Clara Pueblo, New Mexico. My Tewa cultural ceremonies, traditions, and stories, as well as 21st century popular culture, comic books, and technology, influence my art. Using traditional materials and traditional Pueblo pottery techniques, I feel that it is important to keep alive the pottery traditions that have been passed down to me since time immemorial. I feel that these materials and techniques connect me to my ancestral past and landscape, but also connect myself and future generations to our Tewa cultural traditions.

October 7 7:30–8:30 p.m.

116 Art Building West The Tewa artist Jason Garcia, also known by his Tewa name, Okuu Pin’, comes from the Gutierrez family of preeminent potters on the Santa Clara Pueblo. A member of the Summer Clan, he learned to work with clay under the guidance of his mother and father, Gloria “Goldenrod” Garcia and John Garcia.

Garcia has won major awards at the Santa Fe Indian Market and the Heard Museum Guild Indian Fair and Market, and the 2007 Ronald N. and Susan Dubin Fellowship at the School for Advanced

Research. His work appeared in Comic Art Indigène at the Museum of Indian Arts and Culture, Santa Fe, and the Smithsonian National Museum of the American Indian, and in Native Pop! at the New Mexico Museum of Art. Jason Garcia's innovative style of synthesizing traditional Pueblo aesthetics and American pop culture in clay, printmaking, and photography continues to make him one of the young leaders in American Indian art.

Jason Garcia's work is featured on page 27 of this issue.

2 0 U I MA

LECTURES

US vs. Art Thieves True Tales From the FBI's Real Indiana Jones

ROBERT K. WITTMAN

The Wall Street Journal called him “a living legend” and the Times of London said he was “the most famous art detective in the world.” Robert Wittman, for twenty years the FBI’s investigative expert on cultural property crime, will tell us about notorious art heists, daring undercover recoveries, and the true stories behind the headlines. His specialized training in art, antiques, jewelry, and gem identification led to the recovery of more than $300 million worth of stolen art and cultural property, numerous prosecutions and convictions—and stories worthy of a real-life Indiana Jones.

October 20 7:30–8:30 p.m.

240 Art Building West Robert K. Wittman joined the FBI as a special agent in 1988. In 2001 he coauthored the FBI’s manual on cultural property investigations, and in 2005 he created the FBI’s rapid-deployment national Art Crime Team (ACT). He has represented the United States in art-crime matters throughout the world, conducting investigations and instructing international police and museums in recovery and the use of security techniques. In 2010, Wittman published his memoir, Priceless: How I Went Undercover to Rescue the World’s Stolen Treasures, the movie rights to which have recently been optioned

by Cross Creek Pictures. He is now president of

Robert Wittman Inc., a consulting firm that provides expert testimony, recovery investigation, museum security, and collection management.

Robert Wittman's visit is sponsored in part by The Iowa Innovation, Business & Law Center and the Iowa Hawk Shop. There will be a book signing following the lecture.

u i m a . u i o wa . e d u 2 1

LECTURES

EXHIBITION LECTURE

Capricious Corpses Death, Destruction, and Disaster in Goya's Works

KARISSA E. BUSHMAN

While many of Francisco de Goya’s iconic images of death were inspired by Spain’s War of Independence, he did not limit his portrayals of death to those caused by war. Rather, in his prints, drawings, and paintings , Goya treated death as a worthy subject throughout his career. At times his imagery is gruesome and disturbing, and at other times lighthearted and humorous. His whimsical depictions of corpses satirized Spanish society for its superstitions, vices, and poor health care. Because he himself was a victim of major illnesses, which twice nearly claimed his life, and because he lived through some of Spain’s most tumultuous times, he was no stranger to the darkness of death. Indeed, he claimed to have seen major battles and the grave consequences of the War of Independence, although we now know many of these declarations to be false. Thus many of his depictions of war and conflict, while inspired by historical events, were capricious—fanciful inventions akin to his satirical depictions of death.

November 5 7:30–8:30 p.m.

116 Art Building West Karissa E. Bushman received her PhD from the University of Iowa in 2013 and is currently a teaching fellow in art history at Augustana College. Her area of specialization is eighteenth- and nineteenth-century European art, focusing on its historical, political, literary, and religious contexts. Dr. Bushman is

2 2 U I MA

particularly interested in the complex relationship between Francisco de Goya and the Spanish Catholic Church as depicted in his art. She is working on a book manuscript titled Goya’s Anticlericalism in the Context of the Spanish Enlightenment.

UIMA@IMU VISUAL CLASSROOM

Ingenious Gentlemen: Depictions of Don Quixote and Chivalry Dalí’s depiction of El Cid, a medieval Spanish knight whose real name was Rodrigo Díaz, features the armored figure atop his horse, Babieca. El Cid’s deeds served as the fodder for legends and lore, and similar stories inspired Don Quixote to begin his own gallant quests. Another twentieth-century artist, Mauricio Lasansky, created a more abstract characterization of El Cid, demonstrating how different artists may envision the same iconic figure differently.

John Tenniel (British, 1820–1914) How Don Quixote Made Ready His Armour Instead of a Helmet There Was Only a Simple Morion or Steel Cap! But He Dexterously Supplied This Want by Contriving a Sort of Visor of Pasteboard. He Looked Upon It as a Most Excellent Helmet, 1883 Watercolor on board 17 1/4 x 14 3/4 in.

Purchased with funds raised in honor of Professors Helena and Ignacio Ponseti, 2014.215

In the early 1600s, Miguel de Cervantes Saavedra published The Ingenious Gentleman Don Quixote of La Mancha, a multivolume tome that is better known by the title character's name alone. It has been said that Don Quixote has been illustrated more often than any other work of literature; Quixote’s hero and author, as well as other legendary chivalric figures (both real and imagined), have inspired many visual artists. This small UIMA exhibition highlights these literary figures and their knightly stories with art by four “ingenious gentlemen” of the UIMA’s permanent collection: Salvador Dalí, Karl Knaths, Mauricio Lasansky, and John Tenniel.

In the nineteenth century, the British painter and illustrator John Tenniel, better known for his satirical political cartoons and Alice in Wonderland illustrations, took a naturalistic approach to his depiction of Don Quixote. Some scholars even speculate that Tenniel depicted himself as the legendary knight-errant. In contrast, the twentieth-century American painter Karl Knaths utilized thick outlines to delineate flattened forms and patterns in his monotype print of Don Quixote and his horse, Rocinante.

Together, Dalí, Lasansky, Tenniel, and Knaths—our four ingenious gentlemen—have contributed to the visual narrative of one of the world’s most famous and beloved novels. Individually, their works serve as reminders of the unique ways that literature can inspire artists throughout time.

A Spanish Semester The fall 2015 semester is shaping up to be devoted to all things Spanish, with numerous campus entities celebrating the four-hundredth anniversary of the publication of the second part of Don Quixote.

For events and their dates, please visit the UI Obermann Center for Advanced Studies website.

u i m a . u i o wa . e d u 2 3

EDUCATION

Education at UIMA: Bringing Art to the People of Iowa

The students at Southeast Elementary gained more than just knowledge from the UIMA staff; they were immersed in a different cultural world! Being able to see and touch artifacts from the museum made a lasting impact on our students. They were talking about their favorite parts of the presentation for months afterward!

–Brooke Jetmund, Southeast Elementary School, Ankeny, Iowa Throughout Iowa, the staff of the UIMA education department and volunteer docents lead interactive presentations of original works of art in K–12 classrooms. With funding from the UIMA Education Partners, the museum’s Education Department purchased artworks specifically for exemplary, object-based learning during art, social studies, and language arts classes. Students can examine closely—and even handle—many of the objects. Presentations usually last fifty minutes.

The UIMA currently offers the following presentations, centering on six collections: • African Art • American Indian and First Peoples Art • Art of India: Folk Art • Art of India: Hindu Icons • Gee’s Bend Quilts • Graphic Novels and Comic Art • Ceramics and Contemporary Craft

24 U I MA

A true statewide collaboration, the UIMA School Programs has consistent, dedicated audiences, not only in elementary and secondary classrooms, but in other venues. Developed specifically to integrate artworks into the core curriculum of Iowa’s K–12 students, the component presentations are in accord with the State of Iowa Curriculum Guidelines, as well as standards set by the National Art Education Association and the National Council for Social Studies.

During the past seven academic years, the UIMA served 66,387 participants; geographically, the class visits included 148 locations in thirty-four Iowa communities in twenty counties.

UIMA Education Partners The UIMA School Programs is funded entirely by individual and corporate sponsors and matching grants from two anonymous family foundations. This support is essential: without these dedicated and generous contributors, the UIMA would be unable to provide programming to multigenerational audiences across the state. On behalf of the children, teachers, and administrators who have welcomed the UIMA School Programs into their classrooms, libraries, and other venues, the UIMA Education Department members and other staff would like to acknowledge their continuing generosity.

For more information and to schedule a UIMA Education visit or tour, please see http://uima.uiowa.edu.

EDUCATION

Art Opportunities for Iowans from the UIMA Education Department Iowans don’t have to go back to school to learn about art!

Dale Fisher, UIMA curator of education, leads interactive presentations in three broad areas: art education, art history, and works in the UIMA Permanent Collections.

Part illustrated lecture and part discussion, these talks are both classroom-ready and adaptable for all public venues and audiences.

Art Education Originally conceived to provide teaching methods and curriculum-based instruction for use by UIMA volunteer docents, these presentations focus on the processes of looking at and thinking about art. They provide practical strategies for the leader of museum tours or classrooms to handle art-related content.

Introduction to the History of Art By no means comprehensive in scope, each of these talks provides a brief overview of iconic works in the art-historical canon.

UIMA Masterworks in Context Each talk considers one work from the UIMA Permanent Collections as both an exemplar of an art-historical style and a masterwork within the artist’s own creative efforts.

Art Education • What Is Art? • Criticism and Aesthetics • Visual-Thinking Strategies • Docent and Volunteer Training Introduction to the History of Art • Introduction to Non-Western Art • Cave Art to the Present Day • The Classical World • Renaissance Art • French Art: Impressionism and Post-Impressionism • Modern Art in Europe and America, 1900 to 1950 • Contemporary Art in America and Europe, 1943 to the Present • African Art • American Indian and First People’s Art • Art of Ancient America UIMA Masterworks in Context • Robert Arneson, Minuteman • Max Beckmann, Karneval • Giorgio De Chirico, The Disquieting Muses • Marsden Hartley, E • Jackson Pollock, Mural • Ad Reinhardt, Abstract Painting No. 2 • Peter Voulkos, Snowmass • Grant Wood, Plaid Sweater • Ceramics in the UIMA Permanent Collections

UIMA Education Partners u i m a . u i o wa . e d u 2 5

EDUCATION: NEW TO THE COLLECTIONS

Benj Upchurch

Benj Upchurch (American, 1980– ) Containers, 2013, 2014, 2012 Wood-fired stoneware, 23 x 7 1/2 x 7 1/2 in.; 19 1/2 x 6 1/2 x 6 1/2 in.; 16 x 6 x 6 in.

UIMA School Programs Collection, CCC. 68A-B, CCC. 67A-B, CCC.66A-B

Upholding the craftsmanship of the UI Ceramics Program’s worldwide reputation, Benj Upchurch’s art follows in the tradition of wood-fired ceramics.

A graduate of the UI Master of Fine Arts program and a visiting scholar at the University of Iowa School of Art and Art History, Upchurch explores the inherent qualities of clay and other raw materials

2 6 U I MA

as they relate to natural forces: traditional ceramic forms—lidded vessels, plates, cups, bowls, teapots— become vehicles for inquiry into processes such as weathering and erosion. The surfaces of his forms are deceptively rich in color and textural effects, and as powerfully evocative as the varied geologic and organic structures on and of the earth.

EDUCATION: NEW TO THE COLLECTIONS

Jason Garcia

Jason Garcia (Tewa peoples, American, 1973– ) Cry of the Conqueror! (No. 38), from the series “Tewa Tales of Suspense,” 2014 Earthenware ceramic, 11 3/4 x 8 1/2 x 1/4 in.

UIMA School Programs Collections, AIE.74

Jason Garcia (American; Tewa, 1973– ) This World Renounced! (No.37), from the series “Tewa Tales of Suspense,” 2014 Earthenware ceramic, 12 1/4 x 8 1/2 x 1/4 in.

UIMA School Programs Collections, AIS.82

Jason Garcia’s series called "Tewa Tales of Suspense" acknowledges the paradigms of the “westward movement” and the “melting pot” as uneasy accommodations, rather than as a linear chronology and a form of social order without conflict. Using traditional media, Garcia gives voice to his Tewa ancestral history and draws upon popular culture as well. Clay tiles, with their indigenous and colonial

associations, become a canvas; on them Garcia tells the story of the lives, lands, and history that the Tewa peoples shared with Spanish newcomers, and the cultural hegemony that led to expansionism and resistance by the Tewa. Garcia’s serigraph features Po’ Pay, leader of the Tewa, at the pivotal moment of the meeting of two vastly different cultures and worlds.

UIMA Education Partners u i m a . u i o wa . e d u 2 7

MUSEUM PARTY

Destination Venice–The Journey Continues

2 8 U I MA

MUSEUM PARTY

This year’s Museum Party, in the Coral Ballroom of the Coralville Marriott on May 9, celebrated UIMA’s international participation in the Venice Art Biennale. In the spirit of Venetian tradition, guests attending Destination Venice enthusiastically answered the invitation to wear masks. UI Theatre Arts faculty Megan Gogerty and Paul Kalina delivered a comedy sketch to encourage the “fun” in fundraising. Following the presentation, eleven masks created by artists from across the globe were presented in a wearable art competition. Guests voted for their three favorite works, prizes were awarded, and all eleven works were displayed for two weeks following the Museum Party in downtown Iowa City store windows. Thanks to honorary chairs Alan and Liz Swanson, the UIMA Members Council, and party committee co-chairs Kay Irelan and Laurie Zaiger, the evening was a festive, fundraising success.

We’d like to thank all of our generous Museum Party supporters: HONORARY CHAIRS: Alan & Liz Swanson MUSEUM PARTY SIGNATURE SPONSOR: University of Iowa

Community Credit Union MUSEUM PARTY SPONSOR: Coralville Marriott Hotel &

Conference Center MUSEUM PARTY HOSTS: Anna & James Barker; Bradley & Riley PC; Jim Hayes; Hudson River Gallery—Nick Hotek; Kay Irelan & Bob Hardy; Lensing Funeral & Cremation Service; Tom & Polly Lepic; Neumann Monson Architects; Phelan, Tucker, Mullen, Walker, Tucker & Gelman LLP; Shive-Hattery, Architecture-Engineering; Alan & Liz Swanson; Mary Westbrook; Laurie & Mark Zaiger

u i m a . u i o wa . e d u 2 9

SPONSORS

Thank you to our magazine sponsors!

Meacham Travel Service, Dennis and Elaine Shalla Robert E. & Karlen M. Fellows Peter J. Gruber & Diana Duque Yvonne McCabe Andrew T. & Elizabeth M. Wallace Allen Tucker (American, 1866–1939) Lady on the Terrace (detail) Oil on canvas 40 x 50 in.

Gift of Allen Tucker Memorial, 1969.359

UIMA EXTENDS A SINCERE THANK YOU TO OUR FIRST FRIDAY SPONSORS:

H. Dee & Myrene Hoover and John Menninger

FilmScene is a nonprofit, member-supported cinema arts organization in downtown Iowa City.

www.icfilmscene.org

FROM THE UNIVERSITY OF IOWA FOUNDATION

Honoring Our History

This fall, if all goes according to plan, we will launch our campaign to rebuild the UI Museum of Art. While there will be a great deal of excitement about the new building and our bright future, you probably will notice that we’ll also be honoring our rich past.

We will celebrate the spirit, commitment, and determination of a team that worked so hard, fifty years ago, to build our first museum.

Those Iowa visionaries—led by Darrell Wyrick, who was the campaign director and president of the UI Foundation—raised $1.2 million for our original museum in the mid-1960s. This winter, our volunteer campaign chairs, H. Dee and Myrene Hoover, had a terrific idea: Why not ask Darrell and his wife, Shirley, and UI President Emeritus Willard “Sandy” Boyd and his wife, Susan, to serve as our honorary campaign co-chairs for our rebuilding effort? We were thrilled when they all agreed with great enthusiasm!

Sadly, we lost Darrell this spring after a long illness, but we remain inspired by his stories of that original campaign.

There were meetings throughout the state as well as dinners and gatherings. Children dropped nickels and dimes into canisters all over Iowa to help build their museum.

Such stories from the past help inform who we are today.

That’s why we also plan to recognize the volunteers and staff who saved our collection from the rising flood waters in 2008 by conducting oral-history interviews for StoryCorps, the Library of Congress, and the UI Archives. If you’re interested in taking part in this program, let us know. We would be happy to have you as an interview volunteer.

Year after year, friends like you have responded to our requests to launch exhibitions and education programs and to expand into new spaces and communities. Together, we all have created a legacy for Iowa.

Thank you for all that you’ve done to help our incredible museum. You’re an important part of our past and present, and we look forward to building the future with you.

Please let me know how I can help you support the new UIMA. For information about giving, visit the UI Foundation website at www.uifoundation.org or call 319-467-3814 or 800-648-6973.

Beth Nobles Associate Director of Development, UIMA beth-nobles@uiowa.edu

u i m a . u i o wa . e d u 31

University of Iowa Museum of Art 1375 Highway 1 West/1840 Studio Arts Iowa City, Iowa 52242-1789 319-335-1727

uima.uiowa.edu

Peggy Guggenheim Collection, Venice, Italy Deutsche Bank Kunsthalle, Berlin, Germany Museo Picasso Málaga, Málaga, Spain

April 24–November 9, 2015 November 25, 2015–April 10, 2016 April–September 2016

The State University of Iowa Foundation is a 501(c)(3) tax-exempt organization soliciting tax-deductible private contributions for the benefit of The University of Iowa. The organization is located at One West Park Road, Iowa City, IA 52244; its telephone number is (800) 648-6973. Please consult your tax advisor about the deductibility of your gift.

If you are a resident of the following states, please review the applicable, required disclosure statement. GEORGIA: A full and fair description of the charitable programs and activities and a financial statement is available upon request from the organization using its address/telephone number, listed above. MARYLAND: A copy of the current financial statement is available upon request from the organization using its address/telephone number, listed above. For the cost of copies and postage, documents and information submitted under the Maryland Solicitations Act are available from the Secretary of State, 16 Francis Street, Annapolis, MD 21401, 410-974-5521. NEW JERSEY: INFORMATION FILED WITH THE ATTORNEY GENERAL CONCERNING THIS CHARITABLE SOLICITATION AND THE PERCENTAGE OF CONTRIBUTIONS RECEIVED BY THE CHARITY DURING THE LAST REPORTING PERIOD THAT WERE DEDICATED TO THE CHARITABLE PURPOSE MAY BE OBTAINED FROM THE ATTORNEY GENERAL OF THE STATE OF NEW JERSEY BY CALLING 973-504-6215 AND IS AVAILABLE ON THE INTERNET AT http://www.state.nj.us/lps/ca/charfrm.htm. REGISTRATION WITH THE ATTORNEY GENERAL DOES NOT IMPLY ENDORSEMENT. NEW YORK: A copy of the last financial report filed with the Attorney General is available upon request from the organization using its address/telephone number, listed above, or from the Office of the Attorney General, Department of Law, Charities Bureau, 120 Broadway, New York, NY 10271. PENNSYLVANIA: The official registration and financial information of the State University of Iowa Foundation may be obtained from the Pennsylvania Department of State by calling toll free, within Pennsylvania, (800)732-0999. Registration does not imply endorsement. WASHINGTON: Financial disclosure information is available upon request from the Secretary of State, Charities Program, by calling (800) 332-4483. WEST VIRGINIA: West Virginia residents may obtain a summary of the registration and financial documents from the Secretary of State, State Capitol, Charleston, West Virginia 25305. Registration does not imply endorsement.