Eskenazi Museum_sample magazine

ESKENAZI
MUSEUM
OF ART
ISSUE 6 | SPRING 2020
ESKENAZI MUSEUM OF ART 1

ESKENAZI
MUSEUM OF ART
INDIANA UNIVERSITY
admission is always free
ESKENAZI
MUSEUM OF ART
1133 E. 7th st.
bloomington, in 47405
INDIANA UNIVERSITY
6 8 12
gallery hours
Monday - Closed
Tuesday - 10 a.m.–5 p.m.
Wednesday - 10 a.m.–5 p.m.
Thursday - 10 a.m.–5 p.m.
Friday - 10 a.m.–5 p.m.
Saturday - 10 a.m.–7 p.m.
Sunday - 12 p.m.–5 p.m.
café hours
Monday - 8 a.m.–5 p.m.
Tuesday - 8 a.m.–5 p.m.
Wednesday - 8 a.m.–5 p.m.
Thursday - 8 a.m.–5 p.m.
Friday - 8 a.m.–5 p.m.
Saturday - 10 a.m.–7 p.m.
Sunday - 12 p.m.–5 p.m.
contact us
iuam@indiana.edu
812.855.5445
artmuseum.indiana.edu
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CONTENTS
3 FROM THE DIRECTOR
4 WHAT’S NEW IN THE GALLERIES
5 FEATURED EXHIBITIONS
Jim Dine: Pinocchio, Geppetto, and
Other Personal Metaphors
8 CENTER FOR CONSERVATION
magazine staff
David A. Brenneman
Wilma E. Kelley Director
Mariah Keller
Director of Creative Services
Shanti Knight
Photographer
Kristin Londergan
Marketing and Communication
Coordinator
Cassi Tucker
Manager of Museum Technology
Jennifer Witzke
Graphic Designer
10 CENTER FOR PRINTS, DRAWINGS, AND PHOTOGRAPHS
12 EVENTS
Grand Reopening Celebration
Social Saturdays
14 CENTER FOR CURATORIAL STUDIES
18 CENTER FOR EDUCATION
22 ART AND A MOVIE
24 UPCOMING SPECIAL EXHIBIT
Costume Collection of Actress Glenn Close
on the cover
Vassily Kandinsky, Russian, 1866–
1944, Small Worlds (Kleine Welten)
VII from Small Worlds (Kleine Welten)
1922, Color lithograph on paper,
Image: 10 11/16 x 9 1/8 in. (27.1 x
23.1 cm); sheet: 13 7/8 x 11 3/16 in.
(35.2 x 28.4 cm), Sidney and Lois
Eskenazi Museum of Art, Collection
of Diether Thimme, 98.360
thank you
100% of the museum’s annual funding for special exhibitions, educational
programs, special events, and publications is provided by individuals like you,
and we are grateful for your support.

FROM THE DIRECTOR
DEAR FRIENDS OF ESKENAZI MUSEUM OF ART,
As we near the reopening of our world-class teaching museum, I am reminded of the first masterpieces of visual art that I was able
to examine intimately. This occurred during my early years as a graduate student at Brown University while I held fellowships in
OM the THE print rooms DIRECTOR
of the Rhode Island School of Design Museum of Art and the Fogg Art Museum at Harvard University. These direct
engagements with incredible objects were lifechanging. Through the privilege of being in close proximity to my subjects, I realized
that original, great works of art are not just ephemeral images, like slides on a screen, but also tangible, durable things that communicate
the sublime ideas and consummate skills of their makers. I also realized that these works are authentic and that their makers
Eskenazi Museum of Art,
were real, too, not just fictional personalities. And finally, I recognized that this epiphany could only have happened as a result of my
engagement with original works of art.
reopening of our world-class teaching
R
m reminded of the first masterpieces
After graduate school, I built a career as a curator and museum administrator, and always
that I was able to examine intimately.
tried to transmit my fascination and passion for original works of art to others. When the
g ng my early years as a graduate student
opportunity to lead a great university art museum presented itself, I was eager and ready
while I held fellowships in the print
for the challenge. I was especially interested in engaging students with original works
Island School of Design Museum of
of art, knowing that the world had changed significantly since I was a university student.
Technology and the proliferation of digital imagery is a mixed blessing. On the
t nt Museum at Harvard University. These
with incredible objects were lifehe
privilege of being in close proximity
one hand, it makes vast amounts of information available at the touch of a button.
LETTER FROM THE DIRECTOR On the other, it simply cannot function as a viable substitute for the direct multisensory
experience of the original. How can a museum full of great original works
se lized that original, great works of art
ral images, like slides on a screen,
LETTER FROM THE DIRECTOR
Dear friend of the IU Eskenazi Museum of Art,
of art make the case for the intimate,
ty rable things that communicate the
direct experience of great art when so
As we near the reopening of our world-class teaching
Dear friend of the IU Eskenazi Museum of Art,
museum, I am reminded of the first masterpieces
onsummate skills of their makers. I of visual art that I was able to examine intimately.
much can be seen and learned on the
As This occurred we near the during reopening my early of years our world-class a graduate teaching student
ese works are authentic and that Brown museum,
their University I am reminded while I held of the fellowships first masterpieces
in the print
of visual art that I was able to examine intimately. Internet?
rooms of the Rhode Island School of Design Museum of
This occurred during my early years as a graduate student
o, not just fictional personalities. Art and And the Fogg Art Museum at Harvard University. These
at Brown direct University engagements while with I held incredible fellowships objects in the were print life-
rooms
that this epiphany could only have changing. of the Rhode Through Island the privilege School of of Design being in Museum close proximity of
Art to and my the subjects, Fogg Art I realized Museum that Harvard original, University. great works Digital These of art technology is an incredible tool, and
direct
ir
are engagements not just ephemeral with incredible images, like objects slides were on a lifechanging.
but also Through tangible, the durable privilege things of being that communicate in close reconceiving proximity the the Eskenazi Museum of Art, we
screen,
t of my engagement with original
to my
d
sublime subjects, ideas I realized and consummate that original, skills great of their works makers. of art I
are also not just realized ephemeral that these images, works were like are slides authentic on guided a screen, and that their by the fact that technology undergirds
but makers also tangible, were real, durable too, not things just that fictional communicate personalities. the And
and influences everything
sublime finally, ideas I recognized and
we
consummate
do. that this Understanding epiphany skills of their could makers. only have I
the full potential and limits of technology
as is a also curator key and makers
also happened realized that as a these result works of my are engagement authentic with and that original their
l, I built a career to managing works were of art. real, too, not just fictional personalities. And
and “curating” the art museums of the future. How can
Gallery technicians Brandon Alexander,
finally, I recognized that this epiphany could only have
or, and always we harness tried to transmit digital technology my happened After graduate as a result school, of my engagement with original
to I built awaken a career as a curator new and generations of students and learners
Gallery technicians Brandon Alexander, Max Shaw, and Kaila Austin take some time to view newly installed works in the Sidney and Lois Eskenazi Gallery.
works museum of art. administrator, and always tried to transmit my
on for original to the works wonders of art to of others. great
fascination
works
and passion
of
for original
art?
works
That
of art to others.
is our challenge and that is how we went
After When graduate the opportunity school, I built to lead a career a great as a university curator and art museum
Gallery technicians Brandon Alexander, Max Shaw, and Kaila Austin take some time to view newly installed works in the Sidney and Lois Eskenazi Gallery.
y to lead a about great university reshaping art our museum presented administrator, itself, I was and eager always and tried ready to for transmit the challenge. my I was Sidney and Lois Eskenazi, there is so much potential
incredible museum.
fascination and passion for original works of art to others.
Gallery technicians Brandon Alexander, Max Shaw, and Kaila Austin take some time to view
especially interested in engaging students with original works for learning and inspiration that we can finally unleash
eager and ready for the challenge. When of art, the I knowing opportunity was that to the lead world a Sidney great had university changed and significantly art museum Lois since Eskenazi, through four new there study centers, is so three much new art study potential
rooms,
presented I was a itself, university I was student. eager and Technology ready for and the challenge. the proliferation I was of
in engaging I am students very excited with original
especially digital
about works imagery interested is a in mixed engaging blessing.
our museum for
students
learning On the with one original hand,
and its and
works
makes
magnificent inspiration
for learning with the and IU community. inspiration
that Through that
collections. we can the can
finally renovation finally
unleash and our
Thanks unleash
of art, to tremendous
changed support significantly On a the university
vast knowing amounts that of the information world had available changed at significantly the touch of since a button.
through recommitment four new study to being centers, a teaching three new museum, art study we are rooms, honoring
I was
e world had from since other, it student. simply cannot Technology
President through function and as the a proliferation viable
Michael four substitute of educational
A. new McRobbie study the original programming,
centers, vision of our and founders, staff who
and a three Herman are eager
transformative new B Wells to engage
art and Henry study gift rooms,
digital from
for imagery the direct is multisensory a mixed blessing. experience On the of one the hand, original. it makes How can
with Radford the IU community. Hope. In recognition Through the of this renovation legacy, we and have our named the
vast
s ent. Technology Sidney Sidney and and Lois the Lois Eskenazi, proliferation a amounts
Eskenazi, there museum of full information
is of
there so great much original available
is educational works the
so potential
of art touch make of the a button.
much programming, case for
recommitment west wing of to the being
potential for learning and building a teaching after staff Henry museum,
who Hope. we are honoring
and inspiration eager to engage
On the the other, intimate, it simply direct cannot experience function of great as a art viable when substitute so much can
the original vision of our founders, Herman B Wells and Henry that
for the be seen direct and multisensory learned on experience the
ixed blessing. we can On the finally one unleash hand, it makes through four with
Internet? of the original. How can Radford
new IU study community.
I hope Hope. you
centers, Through
will In recognition join me for the of this
three new the
grand legacy,
s
renovation
unveiling we have of our named teaching the
for learning and inspiration that we can finally unleash
art study and rooms, our
a museum full of great original works of art make the case for west museum wing of for the the building twenty-first after Henry century Hope. and sample some of the
the Digital intimate, technology direct experience is incredible of great tool, art and when in so reconceiving
much can amazing works of art that are just waiting for you to connect
e mation through available educational four the new touch programming, study of centers, a button. three and staff new recommitment who study are rooms, eager to being to engage a teaching with museum, the IU we community.
are honoring
be seen the Eskenazi and learned Museum on the of Internet? Art, we were guided by the fact that
I hope with you in meaningful will join me ways. for the grand unveiling of our teaching
technology undergirds and influences everything we do.
museum for the twenty-first century and sample some of the
y f cannot educational function Through as programming, the a viable renovation substitute
Digital and and staff our who the recommitment are original eager vision to engage to of our being founders, a teaching Herman museum, B Wells and we are Henry
Understanding technology is the an full incredible potential tool, and and limits in reconceiving
of technology is
amazing With my works warmest of art that and most are just enthusiastic waiting for regards, you to connect
the also Eskenazi key to Museum managing of Art, and we “curating” were guided the art by museums the fact that of the
with in meaningful ways.
nsory s experience with honoring the IU of community. the original. Through technology How undergirds
vision can the and
of renovation influences
our Radford everything
founders, Hope. and we do. our Herman In recognition B Wells of this and legacy, Henry we Radford have named Hope. the
future. How can we harness digital technology to awaken new
Understanding generations the of students full potential and learners and limits to of the technology wonders of is great
With my warmest and most enthusiastic regards,
n. t original recommitment In works recognition of art make to being of the this a also case teaching key to managing
legacy, for and
we museum, “curating”
have west the art wing named we museums are of the
honoring the building west wing after of Henry the building Hope.
works of art? That is our challenge and that is how we went
after Henry
future. about How reshaping can we harness our incredible digital museum. technology to awaken new
perience the Hope. of original great art vision when of our so much generations founders, can of students Herman and learners to B the Wells wonders of great and Henry
works I am of very art? excited That is our about challenge our museum and that and is its how magnificent we went
n
the Internet? Radford Hope. In recognition about reshaping of this our incredible legacy, I museum.
David A. Brenneman
collections. Thanks to tremendous hope support we you have from President will named join me the for the grand unveiling of our teaching
Wilma E. Kelley Director
Michael A. McRobbie and a transformative gift from
I am very excited about our museum
r west I hope wing of you the will building join me after for Henry the grand Hope.
and its magnificent
unveiling for the of twenty-first our teaching century museum and David A. sample Brenneman
for the some of the
collections. Thanks to tremendous support from President
1
Wilma E. Kelley Director
Michael A. McRobbie and a transformative
n n incredible twenty-first tool, and in century reconceiving and sample amazing
gift from
some of works the amazing of art that works are just of waiting art that for are you just to connect
of Art, I hope we waiting were you guided will for join you by me to the 1for connect fact the that grand with unveiling in with meaningful of meaningful our teaching ways. ways.
s and influences museum for everything the twenty-first do. century and sample some of the
ll potential amazing With and my limits works warmest of of technology art that and are most is just waiting enthusiastic With for my you warmest regards, to connect and most enthusiastic regards,
and “curating” with meaningful the art museums ways. of the
arness digital technology to awaken new
ts and With learners my warmest to the wonders and most of great enthusiastic regards,
DAVID A. BRENNEMAN
our challenge and that is how we went
Wilma E. Kelley Director
ncredible museum.
Sidney educational and Lois programming, Eskenazi, there and is so staff much who potential are eager to engage
During a cleaning of the museum’s Resting Satyr (Roman, ca. 320 BCE), freelance object conservators Amy and Greg Byrne discover previously undetected pigment.
above Gallery technicians Brandon Alexander,
Max Shaw, and Kaila Austin take some time to
view newly installed works in the Sidney and
Lois Eskenazi Gallery.
For more on the museum’s research into polychromy, visit our website: artmuseum.indiana.edu.
During a cleaning of the museum’s Resting Satyr (Roman, ca. 320 BCE), freelance object conservators Amy and Greg Byrne discover previously undetected pigment.
For more on the museum’s research into polychromy, visit our website: artmuseum.indiana.edu.
below During a cleaning of the museum’s
Resting Satyr (Roman, ca. 320 BCE), freelance
object conservators Amy and Greg Byrne
discover previously undetected pigment.
For more on the museum’s research into
polychromy, visit artmuseum.indiana.edu.
2
2
ut our museum and its magnificent
tremendous support from President
and a transformative gift from
David A. Brenneman
Wilma E. Kelley Director
ESKENAZI MUSEUM OF ART 3
During a cleaning of the museum’s Res

WHAT’S NEW IN THE GALLERIES
What’s New?
The museum’s four galleries have been renovated with our visitor in mind, with brand
new lighting and layouts that highlight and embrace I.M. Pei’s original design.
Transparency has been introduced throughout the building, with tinting removed from
the windows, allowing a view of the art inside via many new vantage points outside the
museum, such as a new sidewalk that runs in front of the building, along 7th Street.
There are three new galleries on the first floor with redesigned thresholds that allow
for dramatic, inviting sneak peeks of the treasures inside.
Our European and American art collection has been divided into two galleries: The
Sidney and Lois Eskenazi Gallery in the Hope Wing displays modern and contemporary
art, and the Jane Fortune Gallery in the East Wing houses works from the medieval
period to 1900. A third gallery will host featured exhibitions.
OUR NEWLY RENOVATED
GALLERIES FEATURE
▲▲
▲▲
▲▲
Redesigned layouts with more
intuitive navigation
Museum-wide, high-speed
wifi that allows for immediate
sharing via social media
Interpretative strategies that
encourage attentive viewing
and connections with art
The reinstallation includes works that have never been on view and many others that
have not been seen in several years. In the Jane Fortune Gallery, all eight panels from
our Spanish altarpiece by Felipe Vigarny will be shown together for the first time, in a
display specially designed by the museum’s installation crew.
above Felipe Vigarny (French, active Spain, ca. 1475–1542), Eight Scenes from the Life of the
Virgin, ca. 1515. Polychromed relief: tempera on gold leaf on wood, 48 x 30 in. each. William
Lowe Bryan Memorial, Eskenazi Museum of Art, Indiana University, 65.46–65.51, 65.112, 65.113
4 ESKENAZI MUSEUM OF ART
▲▲
▲▲
▲▲
Carefully placed seating meant
for contemplative study of
particular works
Enhanced lighting that will give
viewers a fresh perspective on
old favorites
Focus spaces that will highlight
themes from each collection

y
8
We also designed and fabricated new
mounts and platforms for the works on
view, and each gallery includes recent
acquisitions. A contemporary work by the
Ghanian sculptor El Anatsui, generously
donated by Jane Fortune, is featured in
the Raymond and Laura Wielgus Gallery
for arts of Africa, Oceania, and the Americas.
In the second floor gallery for arts
of Asia and the Islamic world, a selection
of the Japanese bamboo sculptures
donated by Ann and Rusty Harrison are
also on view.
o, and Other Personal Metaphors
20
nd Photographs, East Wing, 3rd Floor
ew Center for Prints, Drawings, and
by noted American painter, sculptor,
You will find contemporary art throughout
the building, including in the Luzetta and
Del Newkirk Café and Gift Shop, where the
8
English artist Paul Cocksedge installed a
wonderful work of art for this new entrance
to the museum. We are grateful to
Nancy and Bill Hunt, who provided funding
for Cocksedge’s Gust of Wind.
udes the artist’s gift of his 44
ent self-portrait print, as well as
which relates to one of his early
his later Pop art works, The Crash has
lso featured are 11 other works from
ighlight Dine’s interests in poetry,
, and the fine art of drawing. The
omplemented by treasures from other
dition of Carlo Collodi’s The Adventures
ly Library and one of Dine’s first filmed
n Television (NET) in the IU Libraries
Jim Dine
(American, born
1935) Untitled
[Pinocchio] from
Pinocchio, 2006.
Color lithograph
on paper,
Image/sheet: 22
x 17 ¼ in.
Gift of the
artist, Eskenazi
Museum of
Art, Indiana
University,
2017.75.11
JIM DINE
FEATURED EXHIBITIONS
Jim Dine (American, born 1935)
Untitled [Pinocchio] from Pinocchio, 2006
Color lithograph on paper, Image/sheet: 22 x 17 ¼ in.
Gift of the artist, Eskenazi Museum of Art, Indiana University,
2017.75.11
PINOCCHIO, GEPPETTO,
and OTHER PERSONAL METAPHORS
November 7, 2019–May 10, 2020
CENTER FOR PRINTS, DRAWINGS, AND PHOTOGRAPHS
East Wing, 3rd Floor
sedge
Paul Cocksedge
top Tanabe Kochikusai (Japanese, b. 1935)
Flight, 2012. Madake, susutake, and rattan, 21
x 16 x 16 in. Gift of Ann S. Harrison, Eskenazi
Museum of Art, Indiana University, 2019.141
14
The inaugural exhibition in the new Center for Prints, Drawings, and Photographs
will focus on work by noted American painter, sculptor, and printmaker Jim Dine. It
includes the artist’s gift of his 44 plate Pinocchio series and a recent self-portrait
print, as well as his first print series, The Crash, which relates to one of his early
performative Happenings. Like his later Pop art works, The Crash has autobiographical
significance. Also featured are 11 other works from the museum’s collection that
highlight Dine’s interests in poetry, psychoanalysis, transformation, and the fine art
of drawing. The museum’s works on paper are complemented by treasures from
other IU collections, including a first edition of Carlo Collodi’s The Adventures of
Pinocchio (1883) from the Lilly Library and one of Dine’s first filmed interviews for
National Education Television (NET) in the IU Libraries Moving Image Archive.
ESKENAZI MUSEUM OF ART 5

OPENING FALL 2020
Non Profit Organization
U.S. Postage
PAID
Permit No. 171
Bloomington, IN
Upcoming Exhibition
COSTUME
COLLECTION
of actress Glenn Close
This collection of Close’s
treasured costumes
spans her celebrated
career through film,
television and theater
and includes pieces from
some of her most iconic
performances, including
items from “The Big Chill,”
“Fatal Attraction” and
“101 Dalmatians.”
ESKENAZI
MUSEUM OF ART
INDIANA UNIVERSITY
1133 East ESKENAZI Seventh Street
Bloomington, MUSEUM IN 47405-7509 OF ART
INDIANA UNIVERSITY
artmuseum.indiana.edu
GRAND REOPENING CELEBRATION
Thursday, November 7, 2019
Welcome Home! Please join us at as we reopen the
museum to the public on November 7, in conjunction
with the IU Arts and Humanities Council First
Thursdays festival. The celebration is open to all
and includes a block party on the plaza, a dramatic
opening of the doors, live music in the renovated
building, and experts on hand to answer questions
in the reinstalled galleries and new centers. There
will also be art-making experiences in the Center for
Education, art games throughout the evening, and a
closing musical event.
6 ESKENAZI MUSEUM OF ART
We are grateful to Gregg and Judy Summerville for their support of
the reopening event and the museum’s First Thursday programs.