Foreword

In 1963, Mark Reece (’49, P ’77, P ’81, P ’85), Wake Forest’s dean of men and College Union advisor, had a vision to establish a contemporary art collection for the College. In the true spirit of Wake Forest and its consistent mission to make our students and their learning goals our first priority, all acquisitions for this new collection would be led by students. At the time, Wake Forest lacked not only an art collection but also an art department. Even so, Dean Reece’s bold objectives were unanimously accepted by the governing board: to purchase and collect student-selected art created during each generation and to bring localized awareness to the College’s shortcomings in the area of art and — thereby, they hoped — see a department of art established.

With no money allocated that first year for the purchase of artwork, Reece cobbled together funds from other student organizations that went unspent the previous year. That June, Dean Reece, along with Dean Ed Wilson (’43, P ’91, P ’93), Professor J. Allen Easley and two students, drove to New York City — the center of the contemporary art world — with the purpose of exploring the city’s art galleries. They returned from that first trip with a dozen works of art, all selected by the students.

Every four years since, an acquisition committee composed of a small group of students has traveled to New York City with university funds to purchase art by nationally and internationally recognized artists for what is now named the Mark H. Reece Collection of Student-Acquired Contemporary Art. As courageous and progressive as it was in 1963, the students’ charge has remained consistent over six decades: to purchase artworks that reflect the times. This brilliant policy has built a collection that today is both a reflection of major trends in modern art history and an ode to the social and political concerns shaping each four-year period.

What started as an experimental concept, the “student artbuying trip” (as it is fondly known), now serves as a model for peer universities and still remains the most rigorous and robust learning and acquisition experience of its kind. This revered tradition has empowered three generations of students to amass a nationally renowned collection of contemporary art.

This catalog celebrates the 60th anniversary of the student art-buying program and the collection that honors Dean Reece and his visionary leadership. This publication would not be realized without the support from John (’81) and Libby Reece (P ’09, P ’14). Their steadfast commitment to the care and stewardship of the Reece Collection that honors their father and father-in-law paved the way for this commemorative catalog. Our gratitude goes to the following alumni, faculty and staff members for their insightful contributions to the catalog: Professors Jay Curley and Leigh Ann Hallberg; J. D. Wilson (’69, P ’01), 1969 student artbuying trip participant and tireless supporter and advocate of the Reece Collection; and former student art-buying committee members Caroline Culp (’13) and Jay Buchanan (’17), whose catalog entries expand the discourse about the Collection. We thank Madeleine Douglas (’23) for her initial design work and editing and Jessica Burlingame, collections manager, who was a key contributor to the success of this project due to her attention to detail in amassing images, image rights and other essential information.

Our gratitude to Hayes Henderson, Shana Atkins, Kris Hendershott and Jill Carson of Wake Forest University’s Communications and External Relations team, who gave structure and beauty to the design of this book and shepherded us through this effort.

Our heartfelt appreciation goes to Cristin Tierney (’93) and J. D. Wilson, co-chairs of the 60th Anniversary Reece Collection Steering Committee, and all Steering Committee members and donors (alumni, parents and friends) who have supported the Reece Collection and student-led art acquisition program with their deep commitment to our students. A special note of gratitude to Cathy and Jeff Dishner (P ’21), whose generous gift will increase the frequency of the art-buying trip to every three years starting in 2024, allowing more students to participate in this transformative experience.

We thank the leadership of the Provost’s Office for years of support for the program, and the vice provost of the Arts & Interdisciplinary Initiatives, Professor Christina Soriano, who continuously uplifts the Reece Collection and the studentled art acquisition program as a cornerstone of Wake the Arts. We acknowledge all current and former professors in the art department, with a special note of remembrance for

Professor Robert H. Knott, whose guidance and leadership helped to maintain the integrity and rigor of this program. We recognize all the faculty and staff who taught the required Global Contemporary Art & Criticism courses, served as advisors, accompanied students on buying trips to New York, acted as art stewards and taught from the collection. We also recognize Paul Bright, director of Hanes Gallery, and his team for their collaboration and exhibition support for Reece Collection acquisitions over the years.

Good art poses questions and introduces us to ideas and concepts. The art of our time serves as a catalyst for open discussion and intellectual inquiry about the world today, underscoring the spirit of Pro Humanitate. For that, we extend our deepest gratitude to all the artists in the Reece Collection for inspiring our students, faculty and staff to glean such benefits from art in which we can also see ourselves.

Finally, we thank all the alumni who served on acquisition committees from 1963 to 2021, each of whom brought their dedication, passion and unique perspective to the process and spent hundreds of hours researching artists to contribute to the legacy of this remarkable collection.

Thanks to the generosity of Alex Acquavella (’03), I am fortunate to be the curator of the Wake Forest Art Collections at this moment, stewarding the Reece Collection into the next decade and working with students and faculty to integrate this extraordinary collection into the curricula and communities of Wake Forest University.

Jennifer Finkel, Ph.D. Acquavella Curator of Collections

I will be forever grateful to Wake Forest art history professor Robert Knott for his enthusiasm and generosity regarding the student-led art acquisition program; the “buying trip,” as it has been colloquially known for years. When I began teaching as an adjunct professor in 1999, I had many conversations with Bob about the program and its enormous benefits to students and to the institution. We marveled at the enriching and unique experience the trip provided, and we shared our thoughts on trends in the art world, emerging philosophies and potentially interesting artists for the students to consider. When Bob, in a seemingly casual way, reached beyond the usual boundaries of hierarchy and status to recommend that I be a participant in the program alongside Professor Jay Curley, I was dumbstruck. To be invited to be a part of this innovative, groundbreaking venture was sheer joy. I am so grateful for his generosity in allowing a then-lecturer to participate in guiding students on the buying trip. Thank you, Bob! We so miss you.